Saturday, March 21, 2015

well, at least until the end of this year Caleb Walters is the chief operating officer of the corporation known as Mars Hill Church
Chief Operating Officer | COO
Mars Hill Church
– Present (4 months)Seattle, WA

Which, for folks who hadn't noticed this, still actually exists as a corporation.  The corporate listings of the entities referred to as the legacy churches may be different.
UBI Number                601677819
Category                      REG
Profit/Nonprofit           Nonprofit
Active/Inactive            Active
State Of Incorporation WA
WA Filing Date           12/22/1995
Expiration Date           12/31/2015
Inactive Date 
Duration Perpetual

Agent Name


Governing Persons

Bruskas, David
1411 NW 50TH ST

Walters, Caleb
1411 NW 50TH ST

So while journalistic and blogging coverage have seemed to describe Mars Hill Church as if it no longer exists the formal dissolution as a public act isn't necessarily the same as the formal expiration for the concerns of the state of Washington.  There's still a Mars Hill Church in corporate terms.  The era of Mars Hill Church is not over just yet.

3-17-15 Sutton Turner blog post revisits his history in ministry, WtH revisits the accounts of Michael Van Skaik and Mark Driscoll about Turner and a Paul Tripp statement

First thing to note, Sutton Turner's got a website up, and the second thing to note is the biography covers a decent amount of material previously available at MH sites and to a lesser extent discussed here at Wenatchee The Hatchet but the key thing is ...
Notice Regarding Monetary Gifts:
Sutton Turner is not accepting any personal donations or gifts through this website. Please join Sutton in financially supporting your local church and then over and above your tithe supporting New Covenant Foundation and Compassion International, or any other non-profit organization which the Lord leads you. Turner has not started nor is he starting a 501(c)3 organization.

Turner wants you to give to the local church and after that to support New Covenant Foundation or any other organizations you feel led to give to.  Turner's also not going to start a 501(c)3 organization.  Why mention that?  Oh ... well, somebody is soliciting gifts to be given through an application-pending registered 501(c)3 nonprofit organization.
Your tax-deductible gift helps us host and distribute Pastor Mark Driscoll’s past and future Bible teaching and resources. Enter any amount below.
You can also send donations via mail to:
Learning For Living
23632 HWY 99 Suite F 517
Edmonds WA 98026

Learning for Living is an application-pending registered 501(c)3 nonprofit organization. All donations are tax deductible in full or in part.

But that person is obviously not Sutton Turner.  What the status of Learning for Living's registration is might be useful information to have, and when the corporation known as Mars Hill Church finally expires at the end of 2015 would it not have to designate its assets to another 501(c)3?  If that's the case then it seems we know that whatever 501(c)3 gets the assets Mars Hill might have it looks like it won't have Turner's names attached to it. 

Now, we get to the recent post from Sutton Turner.  On March 17, 2015 former executive elder of Mars Hill Church Sutton Turner posted a post.
At one point, one of the pastors asked if I would take a look at the financial books. The church was growing like crazy, attendance was up into the thousands, and everything appeared healthy on the outside. I reviewed the data and, to my absolute shock, discovered that the church was in significant trouble. The staff was huge and we only had sixty days of cash left. Operations were unsustainable, and it was only a matter of time before the church would fail to make payroll.
I had to tell Pastor Joe that he would be up against a huge mess unless somebody made some changes very, very fast. I was completely shocked when Pastor Joe turned to me and said that I was the man for the job.
Jesus made ruins of the life I had known. He changed my heart, my priorities, my goals, and my direction.
The financial bind that threatened my church wasn’t the result of any malicious activity or misappropriation. The guy in charge of operations simply didn’t know how to run a business.

Turner's story in his own words has seemed fairly consistent, which is why it's interesting that Sutton Turner's words as mediated by the Mars Hill Board of Advisors and Accountability presented a bit of a question.  Here's how Michael Van Skaik related the resignation of asdf

Dear Mars Hill,
Earlier this month Pastor Sutton Turner informed our board of his intention to resign from his current staff and elder position. His personal decision is a sober acknowledgement that it would not be financially feasible for him to stay on staff as the church rightsizes itself, and secondly, not emotionally prudent to subject his family to what has been an ongoing season of personal attacks. We want to be clear: there are no disqualifying factors related to his decision.

Sutton put it this way: “Since 2007, Pastor Mark has impacted my life in a significant way. I am thankful to call him my brother, my pastor, and my friend. When I came to Mars Hill in 2011, my plan was to be here for a year, get theologically trained, and focus on the adoption of my son before entering back into the business world. Three and a half years later, I have been able to serve a church that I love as a staff member, but it is now time that I transition off of staff and return to the business world.”

But compare Van Skaik's account to Mark Driscoll's introductions for Sutton Turner.
 By: Pastor Mark Driscoll
 Posted: Nov 23, 2011

Earlier this year, the Turner family moved around the world just to be a part of Mars Hill Church. They’d been listening to the podcast for many years, and when the opportunity arose to join the ministry, Sutton left a lucrative job in the Middle East to use his gifts to serve the church. [emphasis added]

Pastor Sutton’s experience has already been a huge benefit. He has a degree from Harvard Business School, led multibillion-dollar organizations, and even worked as an executive pastor for a number of years at a large church in Texas. More importantly, he is a godly man with a delightful family.

By God’s grace, Mars Hill Church is in an amazing season of growth. With that comes significantly more complexities, however. We need help and we’ve been searching for a leader of Sutton’s caliber for awhile. God is faithful and brought the right man at the right time.

and from the letters announcing Jamie Munson's resignation
Pastor Dave and I both believe Pastor Scott is the best choice for this role in this season. Pastor Scott [Thomas] has been very clear in his love and commitment to Mars Hill and has said he will gladly serve wherever he is needed, which we deeply appreciate. Administratively, Pastor Jamie was our senior "king" and his departure requires very competent leadership to cover his many responsibilities. Thankfully, Pastor Jamie was a great leader and humble man. He surrounded himself with great people. This allows us to not have the kind of crisis that could otherwise ensue. Pastor Dave and I agree that Sutton Turner should function as our highest-ranking "king." Sutton is new to staff, but not to ministry. He is a former executive pastor of a large church. Educationally, he is a graduate of Texas A&M, the SMU Cox School of Business, and Harvard Business School. Professionally, he has recently served as the CEO of a company that has nearly 1,600 employees. Prior to that he served as the CEO of another company that under his leadership grew from 0 to 500 employees in the first year. He and his family moved to Seattle sensing a call to serve at Mars Hill, and we believe he is a gift from God to us for our future. He is currently well into the eldership process so be in prayer for that as well as his many duties at the church. [emphasis added]

In the last year some things have come to light, such as the following quote attributed to Paul Tripp in a letter signed by nine Mars Hill elders back in 2014:
“Sutton is fundamentally unhelpful for Mark. Sutton plays to all of Mark’s weaknesses and none of Mark’s strengths.” He pleaded with them saying that what Mark needs in an Executive Pastor is a “55 year-old seasoned godly man who watches over Mark’s soul as he administrates the church, and who can pull Mark into a room and say ‘you can’t do that in a meeting’ and you need to call another meeting and ask for forgiveness from the people you just spoke to. He doesn’t need a man who is his trigger man.” He made it clear that Sutton lacks the emotional and spiritual maturity to be where he is at in leadership.

Careful students of the biblical literature will have to bear in mind that a direct calling is not necessarily an indication of permament or pervasive gifting for a particular office.  As Mark Driscoll himself used to say, even Jesus picked one bad guy in the dozen.  And to stick with the theme of kings a bit, the first king anointed over Israel was Saul, who turned out to be a pretty bad egg.  We have to be cautious about the way in which some who describe themselves as leaders toss around the language of being called or having had a divine commission for a particular role. 

All that said, Sutton Turner's account of himself throughout the history of Mars Hill has seemed fairly consistent.  The same is much less easily said about things said by Michael Van Skaik and Mark Driscoll in connection to Turner's narrative.

There were some questions here at WtH in the past about whether, in light of the quote attributed to him by Michael Van Skaik, Sutton Turner had actually planned to be an elder at Mars Hill.

For folks who want an overview of Turner's career before and during Mars Hill:
For the rest of the review:
a revisitation of Sutton Turner's career at one time recounted in LinkedIn, part 2a Mission Housing Management, LLC January 2004 to December 2006

a revisitation of Sutton Turner's career at one time recounted in LinkedIn, part 2b Mission Investors I. G. P, Inc.

a revisitation of Sutton Turner's career at one time recounted in LinkedIn, part 3 CHCC aka Cimmaron Hills Country Club (?) February 2004 to January 2006 things are fuzzier here, readers welcome to contribute

a revisitation of Sutton Turner's career at one time recounted in LinkedIn, part 4 Celebration Church Austin November 2006 to August 2008

a revisitation of Sutton Turner's career at one time recounted in LinkedIn, part 5 Khidmah, LLC May 2008 to July 2010

a revisitation of Sutton Turner's career at one time recounted in LinkedIn, part 6 Waseef. Barwa Real Estate Group June 2010 to May 2011

a revisitation of Sutton Turner's career at one time recounted in LinkedIn, part 7 Mars Hill Church April 2011 to present

Friday, March 20, 2015

follow-up on a comment by a Justin Dean here at WtH--Dean alleged The Stranger published an invented conversation. Which one?

Back on March 11, 2015 one Justin Dean commented on a blog post here at Wenatchee The Hatchet.  The blog post in question was about David Hayward's comments on Justin Dean's interview with Justin Blaney, for those who want some background.  A Justin Dean dropped by with the following comment.  Presented for your consideration is an ever so slightly redacted form of the comment that omits a particular way of addressing an author at Wenatchee The Hatchet. 
Justin Dean said... 
... [formal address omitted], your posts are so long it's hard to even respond to your points. I'll do my best. I would respond to bloggers and journalists all
the time, trying our best to be open and communicate well. There were periods of time when we'd not respond at all. That was frustrating at
times but we were doing our best to try and wade through the storm. The Stranger was just brutal and mean and would twist what I would say so we eventually just ignored them because they were hateful no matter what. They even posted a whole conversation with me once that was completely made up. It never happened. They aren't to be trusted. [emphasis added]
I would reply to Warren Throckmorton as well, only to have him not report my comments or only report one part of my response and not the whole thing. He manipulated his stories how he saw fit. So one sided and we couldn't win.
So I'm not sure what your point is. We tried, but when "reporters" aren't acting with integrity how are you supposed to deal with it?
 10:02 PM
[from 03-11-2015]

A few questions

1.  Would Justin Dean confirm whether the person who made the comment here was none other than the former MH PR lead who was interviewed recently by Justin Blaney?
2.  Which conversation does the Justin Dean allege The Stranger invented that they posted or published? 
3.  More specifically, what was the article, the date, the author, the subject, and the context of the alleged fabricated conversation?
4.  Was Justin Dean fielding this question on behalf of not only himself but of Mars Hill Church as a corporation? Or was he speaking strictly on his own behalf?

It's a pretty serious allegation to claim that The Stranger invented a conversation that never happened in something they published, apparently dealing with the subject of Mars Hill Church. 

Would Justin Blaney be willing to do another video interview with Justin Dean and let The Stranger's Brendan Kiley interact with Dean?

Wednesday, March 18, 2015

local coverage updates on the former MH real estate associated with Sammamish and Downtown

Sammamish council approves $6.1 M purchase of Mars Hill property

This 107-year-old downtown church is about to become a restaurant and ballroom

Because regular readers know Wenatchee the Hatchet does try to keep track of this kind of stuff from time to time.

Per earlier discussions of Downtown's old location back in 2012:

One of the region's newest and fastest-growing churches will soon take up residence in one of Seattle's oldest church buildings.
Mars Hill Church plans to relocate its downtown branch this fall from Belltown to the former First United Methodist Church at Fifth Avenue and Marion Street.

Here's a bit more from the article:

Mars Hill Church, a nondenominational, evangelical Christian congregation, has outgrown its location in the former Tabella nightclub, said Tim Gaydos, lead pastor of the downtown church.
Gaydos said the church holds five weekend services for about 1,500 people and was looking for a larger venue downtown that would allow it to continue its ministries to the homeless and to young women caught in the sex-trafficking trade.

"Our heart has always been not just for a great church but for a great city. Being in this location allows us to serve and love Seattle better," Gaydos said.
The deal almost didn't happen. Mars Hill looked at the First United Methodist Church building a year ago but Daniels didn't want to sell or completely relinquish control, said Tom Graff, commercial president of Ewing & Clark Real Estate. [emphasis added]
Graff said he got Gaydos and Daniels to talk directly, and they agreed on a five-year lease. "With a lot of hard work, the deal came together," Graff said.

Almost didn't happen, eh?  Mars Hill started looking at the building a year ago but Daniels didn't want to 1) sell or 2) completely relinquish control of the property.  The lease has made the news as of this week.

Not relinquishing all control over the real estate and not selling turn out to have been remarkably prudent policies.

In other news ...

Former Mars Hill Churches Continue Support for Ethiopian Pastors

Monday, March 16, 2015

comment at Throckmorton's blog that's interesting, on how the implosion was more gradual than sudden

Mars Hill wasn't "robust" and then imploded in less than a year. There is a useful Rabbinic parable: a man is being slowly lowered into a deep well. At the bottom are poisonous snakes leaping up -- they can leap their body length of 5 feet. Nothing is happening to the man being lowered and the ride is long and pleasant until he is about 5 feet from the bottom when suddenly he is bitten by a whole host of poisonous snakes. Anyone who says of his demise that it was "all of a sudden" meaning "unforeseen" never understood the situation in the first place.

I agree this interview sheds light -- it makes very clear that Dean, having no insight now, never understood the situation 5 or 10 years ago. He is part of the enablement. It isn't like there was no one pointing out the decline years earlier. Listen to Driscoll at SBTS on emergent churches or on his dealing with physical demons blocking his car -- he was a stud back then and these talks are completely about himself and almost none of it true in detail. People looked the other way because it was detail, there was growth, the larger good more than made up for it. People like Dean were part of the MH problem.

What is so numbing about the MH episode is the failure of so many "leaders" who were there to see that hitting the snakes was inevitable and who are now giving snake advice. It's like Typhoid Mary giving talks on how to avoid typhoid.

I'm waiting for Steven Furtick or Perry Noble to explain what happened. One of Furtick's talks at MH included his exuding "there is such a [great] spirit of inappropriateness here." Even Furtick got it -- that's how "sudden" it was..
Wenatchee The Hatchet stopped attending in later 2008, just before Peasant Princess kicked off.  WtH also shared on the way out that there were a few concerns about where things had gone.  There was a first concern, that the fiscal model implied by the growth paradigm meant MH was adding operational expenses and real estate liabilities much faster than it was cultivating its donor base in a way that could ultimately afford to keep all this stuff running.  If there were simply a stop in growth, let alone an actual numeric decline, the entire edifice would collapse under its own dead weight financially. 

A second concern was that there seemed to be no clear set of precedents and procedures establishing what the real nature of church discipline was intended to be.  Little did Wenatchee The Hatchet know at the time there WAS a disciplinary protocol document in place and it was ... well, anyway ...

A third concern was that disciplinary measures might one day be considered so arbitrary and punitive that someone might actually go so far as to contact the public about a case.  Wonder if THAT happened ... like in 2012?

Wenatchee The Hatchet has written in many a post that pretty much every major disaster WtH was afraid was likely to happen at MH if it didn't change course actually came to pass.  The concerns were shared back in later 2008 and maybe in 2009, such as memory serves.  So as Carson was putting it a few days ago, those who would say the implosion of Mars Hill was sudden were not in a position to have seen how far back the seeds of its decline were sown. 

As for the spiritual warfare stuff, the majority of the 2008 warfare teaching session has been transcribed for a reader's consideration.  It still seems helpful to propose that that session can be construed as a political manifesto on the part of Mark Driscoll about how leadership was supposed to operate within the church culture. 

Now with that said, things are more likely to turn back to technical analyses of guitar works from the early 19th century here, give or take a few days or a week. Maybe.  It depends in part on whether or not some folks insist on reviving issues that were often considered dead horses before they got in front of cameras.

Sunday, March 15, 2015

Atlantic Monthly: "The Downfall of For-profit Colleges"

A bit on the older side, obviously, but thematically interesting because for those familiar with more of the deep background of Mars Hill a for-profit college figured in as something founded by a one-time member of the MH BOAA, namely Jon Phelps, founder of Full Sail University, a for-profit college.  Whether Phelps is still associated with the Mars Hill Board of Advisors and Accountability and whether that organization still exists in the face of the expiration of the corporation known as Mars Hill scheduled for the end of this calendar is not, as yet, confirmed.

For posts in the past that mention Phelps, here's an example:

For folks who want to consult all the posts tagged on this subject:

Phelps' most notable role in the history of Mars Hill, besides being reportedly a significant donor, would have been as co-creator of what Mark Driscoll referred to as "Reverse-engineering your life".  Of that enough has been said to not bore you with details already discussed.

Sor Op 29, 10 (aka etude 22) in E flat major, a brief analysis of Sor's use of sonata allegro form in said etude

and musical analysis of sonata form in early 19th century guitar literature continues ... 
A couple of weeks ago we discussed the charming E flat major etude from Sor's Op. 29.
Now we're getting to another etude from the set that can be presented as adhering to some of the basics of sonata form.  This one is more a contestable case for reasons you'll get to see, but I think a case can be made that the sonata principle in terms of form and developmental economics would suggest that this Sor etude fits the principle of a sonata form.
A word in advance about this post, it features an extensive musical example (i.e. an entire Sor etude with visual analysis).  You're going to want to minimize/collapse all the far right menus on the blog in order to properly read this post.  The reference point for this score analysis is Boije 477, which you shouldn't have too much trouble digging up.  
Having read Stanley Yates' discussion of sonata forms in Sor in the last month or so I would like to suggest, if Yates hasn't spotted this already, that there's another example of sonata allegro form to discuss in the compositions of Sor. 
Yates' overview is helpful as an overview but I think that one of the challenges of discussing Sor's larger-scale works would be the ways in which they deviate from some of the scholastic expectations of sonata form from the time period.  Op.22 has an exposition in which theme 2 is abandoned in the recapitulation and none of the themes get any significant development in what would be known as the development section of a sonata form.  Op. 25 recapitulates thematic ideas in reverse order, which began to be a thing in Romantic music but which could throw off an unwary musician or student who hasn't had any training to anticipate that. 
Where Yates seems to have seen the early Sor sonatas as a bit under-developed or diffuse in structural thinking compared to the later Grand Sonatas I would say the reverse, the fact that Sor's earlier sonatas have themes which all appear in their respective recapitulations and the energy of the Opp. 14 and 15 make them superior works, both because they are more self-contained and because they simply have more pleasing themes.  What Yates described as Sor's sophistication in handling of sonata forms sounds to me, as someone who's loved Haydn my whole adult life, like a diffuse ramble. 
On the other hand, there is a sonata form in the Op. 29 etudes (etude 10) that is an elegant and brilliant demonstration of sonata form.  If anything it's the most concise and compelling use of sonata form in Sor's output, not that anyone's explicitly asking Wenatchee The Hatchet's opinion here about the topic.
For the sake of overview, a sonata form has three sections--an exposition, a development and a recapitulation.  The exposition will have musical ideas in two different tonal centers, the development will continue to explore these ideas in various ways, and the recapitulation will re-present the ideas in some fashion within one tonal center, the opening one.  As Charles Rosen has pointed out in his book on sonata forms, the important point to emphasize about sonata form is not the contrast between the themes within the exposition but their contrasting tonal centers.  It's the tonal architecture which creates the structural and harmonic momentum of the form. 
We've discussed in the past how there's a sense in which, once we factor in the convention of repeating the exposition, a sonata "could" be construed as a verse-chorus-verse-chorus-bridge-verse-chorus pattern.  That would be true, sort of, but the caveat is that the themes or thematic groups have transitions and what can happen in practice is a development may rely less on the formal themes than on transitional materials.  This is particularly notable in solo guitar sonatas, which we'll try to explore in posts later.
Or ... we could show that the way a sonata can work out a development can be through tossed off cadential riffs that take on greater harmonic or rhythmic significance in a development section.
Something else to bear in mind is that while in the recapitulation you may have theme 1 coming back with a non-modulating transition and a theme 2 there's no rule against ideas being developed in the recapitulation.  There isn't even any strict rule against the introduction of new forms of development within a non-modulating transition.  While we could cast about for Haydn works as an example the Sor Op 29, 10 etude will do.
So, let's get to the etude.  It opens with a frisky E flat major marching theme that's pretty short.  In a mere seven measures we get a parallel periodic structure typical for the era.  It's an eight measure theme if you include that closing measure as a point of arrival but, as is common for the beginning of a modulating transition in sonata form the point of arrival is also simultaneously a point of departure. 
Conventionally a sonata form starts in a tonic key (in this case E flat) and moves to a dominant key (in this case B flat major).  A modulating transition can happen in a variety of ways but if we want to be textbook then we can use Sor's example, and what Sor does is he introduces the leading tone of the dominant key, A natural, pretty early in this modulating transition.  It appears as a chromatic ornament to a firmly E flat major riff.  We could say these days it's got an anticipation of blues in it but it wouldn't be construed as blues here.  The next tone that gets strategically introduced along the way would be the leading tone of the dominant scale degree to the target key.  So in this case Sor works in a E natural, the leading tone to F, and F major is the dominant of B flat. You'll be able to see he gets to this quickly enough.  For sake of quick visual reference I've highlighted the A naturals in blue and the E naturals in green. 
What's interesting about this little sonata is how unified it is in thematic materials.  The opening motto is more or less the seed from which the entire plant grows.  The semi-bluesy riff at the start of the introduction gets two phrases and then the second half of the transition inverts the riff in the first half of the two-measure phrases, while retaining the contour of the ornamental second half.  This would be in system four and in system four we get the high B flat pedal point under which Sor chromatically planes dyads so that by arriving at E flat, which would have been the tonic chord in the first theme, has been presented as the subdominant harmony in the new context. 
Since Sor took this new harmony to be too new to just land on, he repeats the entire sequence.  Given the degree of chromatic complexity in both harmony and melody for this little exposition leaning so heavily on repeating phrases would be unusual for sonata forms but for the key of E flat major on a single guitar this was a very wise move.  Of course we're not going to contest the wisdom of Sor in composing for solo guitar here!  :)
So the music continues and half-way through system six we arrive firmly in the key of B flat major and Sor introduces his second theme.  We can describe this as a rather freer and more laconic inversion of the opening motto. The tempo hasn't changed and the theme is still chugging along in eighth notes but Sor has done a wonderful job delineating the arrival of the new thematic region with a slower harmonic rhythm.  He basically decorated a tonic pedal point with the new melodic idea.  He keeps the texture and harmony simple here but he gently ramps up the non-harmonic dissonance in how he adds a lower harmonizing voice to the new tune.  After he wraps up the second theme with a firm, final cadence in B flat major we get to the end and we start from the top.  This is a classic repeating exposition for a sonata allegro form.  It's brevity and efficiency should not throw us off as to what we're hearing and what we're looking at in the score. 
Now whereas in the Grand Sonatas Op. 22 and Op. 25 Sor's development sections seem to scarcely be there for any other reason than building momentum to get back to the recapitulation the Op. 29, 10 etude jumps into a development that, however short, develops the ideas introduced in the exposition.  We see the opening motto subjected to intervallic change and introduced at the start of the development in a minor key, F minor.  This idea is sequenced once and turns into a little riff-bashing moment in which the cadential turn riff at the end of the first theme is made an ostinato under which Sor has dyads chromatically creeping up from B flat in a way that flirts with E flat major but won't commit to it for six measures. 
Of course because this is a sonata the first theme arrives triumphantly in E flat as we would expect it to.  There are a handful of changes here, though. Instead of the perfect parallel period we had in the exposition Sor changes the cadential wrap-up for theme 1 so that it ends on an unresolved half-cadence.  This half-cadence leads to a new idea for the piece, riffing on the cadential turn pattern.  It's a very static V-I alternation that ensures we're never leaving the tonic key now that we've arrived at it in the recapitulation.  What keeps this new material from being alienating in such a short piece is the economy with which Sor has been alternating between the marching motto on the one hand and his use of the cadential turn riff on the other.  If none of this makes sense to you yet, fear not, dear reader.  There's a visual analysis being presented at the bottom you can consult that should clear all this up. 
This is a wonderful little sonata form and Sor was clearly shrewd enough a guitarist to recognize that even this short a piece in E flat major would have many a guitarist scared off or begging for mercy.  Still, if any guitarist would attempt to make a case that the classical guitar lacks the resources to handle a sonata form, Sor has amply demonstrated otherwise.  If Sor composed a sonata allegro form in E flat major as part of his Op. 29 etudes then there should be no doubt the guitar, whatever its limitations, is capable of handling complex forms in remote keys in the right hands. 
And since the internet age what it is, well, we'll have to leave it to you, dear readers, to go find a video of a performance of this little gem.  Consider this more of a primer.  I probably haven't exhausted all the things that could be said about this piece, but I hope I've made a successful case for this work being included in a discussion of Sor's use of sonata form.  The score with analysis notes is visible after the break

checks and balances, trade-offs and liberties--CPS finds "free range" parents responsible for "neglect" for letting kids walk home unescorted

CPS Finds “Free Range” Parents Responsible for Unsubstantiated Child Neglect. Now What?

Hanna Rosin's piece from March 2, 2015 has had me wondering whether in a post sexual revolutionary age we're possibly witnessing some kind of trade-off.  We're more free to opt to have a sexual relationship of whatever kind most meets our respective needs but it sometimes seems as though there's a flip-side, that we live in an era in which the expectations surrounding proper parenting become more heated and less forgiving.  Mockingbird has many a post on the Law and parenting or lifestyle, whether helicopter parenting of the purity codes of food consumption.

As a single person it sometimes seems as though the options for who you may pair up with are more wide-ranging in the internet age than ever before but the socially acceptable options for how you actually live paired-up life, let alone raise any resultant children, seem more hotly contested and with a more restricted menu than before.  If CPS can decide in one state to do a "write up" for parents who let their kids do what anyone would have thought virtually nothing of thirty years ago it's hard not to wonder if the trade-off for sexual liberty in a culture comes with a price tag, that the culture takes more initiative to formally and informally dictate the methodologies of child-rearing.  It's as though some kind of "balance" between individual liberty and social restriction, some kind of meta-cultural equilibrium is being sought.  Or people are just weird.

another overview post is in the works, on some musical stuff--getting to the guitar sonatas of Carulli, matiegka and Molitor

For those who remember this post, there's been a sequel incubating for a number of years.  For those who don't reflexively scroll over links, the post in question was, "an overview of structural concerns in the sonata forms of Sor, Giuliani, and Diabelli", published at the end of 2011.

Back then it seemed like the book was closed on blogging anything useful to the public interest on ... other topics, and the idea was to go full bore into some more detailed blogging about the development of sonata form in solo guitar literature.

Well, things happen.

But there's a sequel post slowly taking shape that might be called "an overview of structural concerns in the sonata forms of Carulli, Matiegka and Molitor".  Yeah, scintillating, right?  It might be worthwhile to do blog posts about each composer eventually and get into analyzing specific pieces but it seems like to get to doing that we need to lay some ground work, an overview so that readers aren't left wondering what's going on when score analysis shows up. 

And while we're at it, this new-old direction for blogging will probably take issue with a few things published by Stanley Yates on the subject of sonatas for solo guitar.  Yates provided an overview of Sor that could have turned into a monograph and ... well, did it?  Is there even a monograph on the sonata form in early 19th century solo guitar literature?  It'd be a bit much to ask for a Charles Rosen style study, I suppose, but when guitarists repeat the old canard about how the sonata form is not really suited to the limited resources of the classical guitar I just want to shake them a bit and say, "You couldn't possibly say that if you actually knew the literature!"  There's plenty of examples of sonata form in the 20th century literature, even more so than may have been published for solo guitar in the early 19th century by the generally accepted masters.

Thing is you won't lack for people discussing the Ponce sonatas (they're fun, to be sure).  Nobody's discussing the Rebay sonata cycle yet but give it time, it's a mighty worthy series of sonatas for guitar and for my time and study they're more fun--then again of the few Romantics I actually like one of them is Brahms ... but time and energy permitting we'll try to blog through the Ferdinand Rebay sonatas here, too.

And, really, since Sor, Giuliani and Diabelli wrote some formidable and worthy music for the guitar we should probably get back to discussing some of their works in more detail.  That Yates overviewed Sor's use of sonata form without tackling etudes 17 and 22 from Sor's Op. 29 is disappointing but probably unavoidable.  Guitarists who do discuss the literature don't always seem to have the command of the formal/theoretical nomenclature you'll find in the mainstream literature.  Whereas non-guitarist musicologists could probably spot the sonata form that is Op. 22 study 22 (aka 10 within Op 29) guitarists don't seem to realize they could explain things more clearly if they cast discussion in terms of sonata form.  Ditto Op. 29 study 5 but I think I'll have to make a case for 1) why the Op. 29 etude 5 is best understood as a sonata form and 2) why I think it might be overlooked as being an example of sonata form and why this makes it all the more reason guitarists should study it.

In fact ... if guitarists the world over aren't already doing this using Op. 29, 10 as an introduction to guitarists of sonata form should be considered.  It's a brilliant little deployment of the form, in some ways more efficient and remarkable than the usual suspects in Sor's output.  Since it's in E flat major, however, the likelihood guitarists will champion its cause seem remote.  :(

But we're proposing ideas for coming attractions here at Wenatchee The Hatchet, and that's just for music.  There are other things to be written that veer into the similarly esoteric realm of cartoons involving people wearing capes that are still overdue. 

Thankfully because the works of Sor and Matiegka and Giuliani are gloriously public domain more detailed analysis will be possible for their works.  Rebay's work is only just now getting published and so we'll have to write more roundaboutly.  Fortunately for those who love Brahms it WILL be possible to quote the Brahms works (or those of Schubert) Rebay made use of in his sonata cycle.  As someone who generally doesn't care for the Romantics but likes Brahms, having a sonata cycle for the guitar inspired chiefly by a Brahmsian idiom can only be a great new addition to the solo guitar literature.

If you want something more firmly 20th century (as in not as conservative as Ponce) Angelo Gilardino has a set of sonatas that are worth checking out.  Like I was saying earlier, guitarists who claim the instrument does not lend itself to sonata forms just don't know the literature well enough.