La Dame à la Licorne was conceived as a ballet score based on the imagery of the celebrated set of early sixteenth century Flemish tapestries housed in the Musée de Cluny in Paris. The six large movements of the piece relate directly to the six tapestry panels. The tiny Mille Fleurs movements refer to the busy, detailed backgrounds depicting plants and animals that are such a characteristic feature of the Flemish style.
Special thanks are due to Jane Keenan, who shared with me her initial thoughts about how the choreography might be approached, thereby ensuring that I kept the idea of physical movement in my mind's eye throughout the composing process.

(G.N.)