Program Note 

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Etymologically, “myriorama” means “myriad views,” but is intended as a specific reference to a popular 19th c. children’s puzzle format, consisting of a pictorial set of cards that can be arranged in variable orders to depict changing scenes and sceneries (often landscapes, that are topographically modified via alternate card placements).  Analogously, Myriorama is paneled in construction, with each rehearsal letter signifying a distinct panel.  These panels, like the cards of the puzzle, are ostensibly interchangeable with any other (excepting end-pieces, which are necessarily fixed). 

For the purpose of obtaining a determined musical form for the occasion of the premiere, I have arranged panels in a pre-designated order, yielding a coherent composite image by way of continuous musical narrative.  I reserve the prerogative to re-order panels for future performances, though prefer to revise the score and parts (eventually) so that an electively mobile form can be easily implemented at an ensemble's discretion, without my oversight.

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Myriorama’s final cadence (heard in excerpt above, @ 0:59) features a sequence of three vertically dodecaphonic chords, voiced in such a way that they may serve cadential function.  Vertical dodecachords have since become a common artifact in recent pieces (Gordian Knot for full orchestra, Antiphony for double septet), in a nod to Lutosławski .  Piano Quartet: II. Poem is expressly concerned with dodecaphonic sonority,  containing at least one vertical dodecachord per measure, strategically voiced in avoidance of clustered impression. 

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