I still want to blog more about Nikita Koshkin's 24 preludes and fugues for solo guitar.
I also want to blog about guitar sonatas by Wenzel Matiegka ...
and I've been meaning to write about the guitar sonatas of Dusan Bogdanovic, Angelo Gilardino and Ferdinand Rebay and ... the preludes and fugues of German Dzhaparidze that he's composed for solo guitar.
and I forgot I wanted to write about the chamber music for double bass and guitar composed by Annette Kruisbrink.
But ... sometimes it's good to take breaks from doing stuff online for a bit.
That's not even getting to the other stuff, like blogging that could be done about MD's last book or things like that.
But I'm settling for the realization that after so many years of writing at such a prodigious rate (and you can peruse just how much I wrote between 2011 to 2015) that there are times to slow down a bit.
I want another crack at writing about "Living for the City", though. And I am definitely drafting a new version of "On spatial/temporal correspondence between the syntactics of ragtime and sonata forms". I've been compiling musical passages from some great classic ragtimes since it's 2019 and the best ragtime pieces have become public domain. That will give me an opportunity to more clearly demonstrate how and why I believe ragtime lends itself as a style to the syntactic processes observable in sonata forms.
But ... that can be for later, too.