It's nice to hear that melody played so fluently....Apparently no one noticed, but I tried to introduce some variety in the duration of some of my notes: the A in the third measure was supposed to be a half note, as were the B and the F-sharp in the next-to-the-last measure; the concluding G-sharp was intended as a whole note (though, because it came at the end, the cutoff was difficult to define except by damping).
I admit that overcoming some of my involuntary hesitations would clarify the intentional pauses.
Were we all resorting to some sort of notation, as Mike and I were? Or were you, Jean-François or Chris, playing entirely by ear and from memory? When I was in school, a tonal memory of even 9 notes was considered exceptional, and here there are 36.