Orders as in Orders of Chivalry, Monastic Orders, Orders of Magnitude, and all different kinds of orders where elements are organized and in harmony.  
Orders as preordained events.  
Orders as dispositions of elements giving each its proper place to serve a higher purpose.
I started it at first as a set of 4 solo pieces and a duo, all based on the same harmonic material – the major 7th chain.  I was inspired by the ambivalent and somewhat circular quality of such a sequence of intervals – it did not want to move or resolve in any particular direction. It also lacked the harshness that I at first imagined it would have had.
After finishing the 5 miniatures (pieces for solo guitar, solo piano, solo violin, solo cello, and the flute duo), I realized that they actually are parts of a larger body, and that they together belong to a “higher” whole.
Realizing that, I needed to amalgamate them in an organic way, understanding their individual characteristics, such as their individual points of tension and relief.  Thus the lowest tones of individual lines (especially those of cello, piano and guitar) determined the harmonic skeleton of the sextet.  The most dramatic individual gestures suggested the overall dramatic flow of the entire piece.
In this musical case of Orders, elements are: intervals, rhythmic patterns, and on a larger scale - solo instrumental lines.  They all are defined musical entities, with their distinct characters.  However, their purpose reveals on a higher plane of musical organization through coordinated actions of triggering, mirroring, imitating, supporting, etc. each others. 
Formally, the piece is symmetrical, with its two halves mirroring each other both vertically and horizontally, like a double palindrome.  The axes falls on measures 40 – 42 (out of 82), marking therefore the center of the piece, and the place of the highest tension.  Consequently, elements (instruments) take on each others’ roles moving away from the place of crisis in a manner formally defined in the first half of the piece.  
Unfolding so in a quasi backwards motion, the closure emerges as a transformed version of the beginning.
Orders were written in Ann Arbor, Freiburg and Novi Sad, in 2000/2001 and are dedicated to Michael Flitner.