I've got plans brewing for discussing Ecclesiastes again, particularly Martin Shields' commentary on the book. Interesting proposals are that the prophets and the sages represented conflicting classes or elites within Israel that competed for ways to influence royal policy, which is not a theory Shields proposed in such direct terms but which is a strong inference that can be made from his overall approach to Ecclesiastes.
I've also got some plans to continue a bit more writing on the prophet/priest/king matrix that is neo-Calvinism's variation of a David Keirsey style personality test, but for people who are already in the leadership tracks at neo-Calvinist churches. I do aim to compare the broad categories espoused by exponents of this pop psychology fad presented as having some modicum of textual support to what we can observe from actual Old Testament texts later.
Alert readers may have noticed that there's a smattering of pieces lately dealing with harmonic theory and practice in Western music. Expect a little more of that.
Chamber Music Week 3 is under a few rather lazy planning stages. Debating whether or how many album reviews to do dealing with some truly esoteric combinations of instruments. I still want to tackle writing more about Rebay's music but that may get pushed out to some other time. The quartets are interesting but I've been more intrigued by Rebay's solo guitar sonatas and so those would not, properly speaking, come under the domain of any chamber music week series.
By contrast I've been thinking a lot about discussing music for double bass and guitar and particularly the works of Annette Kruisbrink, who has single-handedly written more for this instrumental pairing than (as far as I know) anyone who has written for this pair of instruments. So I'd like to tackle writing about some of her work. Very long-time readers may recall I haven't written about the d'Amore Duo and their albums of oboe and guitar music. I still mean to get to that, too.
Then there's recent discoveries I've made in the realm of literature for mandolin and guitar and alto saxophone and guitar. Yes, I admit I'm thinking of these combinations because I've been sketching out ideas for both pairings. Because there's no rule here at Wenatchee The Hatchet that blogging about chamber music has to be about chamber music that includes the guitar I'm thinking of tackling chamber music from other settings. Maybe a string quartet by Hindemith? Maybe contemporary chamber music for banjo? Maybe some music by Lutoslawski? Maybe I haven't decided on that entirely just yet.
But that's a lot of stuff and there's still other stuff to be written. Still, this post can be considered a kind of preview of some coming attractions. A few posts on real estate acquisitions and observations about the mercurial employment roster in certain local institutions will also be likely to show up. But the stuff that will be more fun for me will be to delve into a few musical things.