Structural Oppressions of Memory: Complete

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 I is scored for Tenor Recorder, Bass Recorder, and Violoncello.

Structural Oppressions of Memory II is scored for Bass Recorder, Great Bass Recorder, and Violoncello.

Structural Oppressions of Memory III is scored for Soprano Recorder, Alto Recorder, and Violoncello, and could be performed on Piccolo (or Flute), Oboe, and Violoncello.

Structural Oppressions of Memory IV is scored for Soprano Recorder, Alto Recorder, and Viola, and could be performed on Piccolo (or Flute), Oboe, and Viola.