Structural Oppressions of Memory III
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The title is taken from poet Jenny Factor's remarks on the circulation of poetry in the 18th century, especially as it pertained to Alexander Pope and Phillis Wheatley Peters.
The tempo marking refers to accordionist/pianist Melinda Fields' comments on feasible tempos for Balkan bride dances.
Within each piece there are palindromes—some within a measure, others over two or four measures.
Structural Oppressions of Memory III is scored for Alto Recorder, Tenor Recorder, and Violoncello, and can be performed on Flute, Oboe, and Violoncello.
