Saturday, May 08, 2021

German Dzhaparidze Prelude & Fugue No.24 in B moll (Esteban Colucci, guitar) w score

The Prelude starts at 0:00. The Fugue starts at 01:47.

There a couple of noteworthy things about this piece that you can read along with in the score as you listen.  The first is how beautifully idiomatic the writing is, particularly in the use of slurs, portamento and glissandi.  This is not music that you can really replicate on a keyboard instrument to the same effect as having it on the guitar with the various hammer-ons, pull-offs, and the slidings up and down the strings.

The second thing that's significant is this is a two-voiced fugue.  George Oldroyd and other scholars of fugue have highlighted again and again that there's no good reason to add extra voices to your fugal texture at the expense of good voice-leading practices.  

Don't believe the theory teachers who tell you that if there are only two voices then it's a two-part invention rather than a fugue.  The difference between a two-part invention and a fugue is generally explained by Kennan and Verrall and other specialists as being defined not by the two-voice texture but by at what pitch the second voice enters.  If the second voice enters at the octave in canonic response to the first voice it's a two-part invention.  If the second voice enters at the fifth then it should be regarded as a fugue.  If the voice enters at any other interval and is strict we could think of it as a canon but for practical purposes an answer at the fifth shows that we're looking at a fugue and that's what happens here.  Dzhaparidze has, of course, helped us a great deal by calling this fugue what it is!  

If you want to hear more of the cycle go get the double CD release at the guitarist's website.

As with other projects I hope to blog through this beautiful cycle in the future but the Koshkin cycle is both partly recorded and the scores published so that took priority but that hardly means I've forgotten about this beautiful cycle.  

I really, really wish a publisher would get behind this cycle and run with it!  I could probably write an actual book-length project on fugal writing for solo guitar in the early twenty-first century if anyone thought there was the least bit demand for such a book. 

Ferdinand Rebay: Sonata in One Movement (Guitar Sonata No. 7)

There are two performances of this Rebay sonata you can check out.

Luiz Mantovani

It is called a sonata in one movement but it has a multi-movement structure hidden inside of a single movement.  It's, uh, kind of like Franz Liszt that way only not nearly so bombastic!  

Ferdinand Rebay: Guitar Sonata in D major (Guitar Sonata No. 6)

Sonate in D Major: II. Scherzo   
Sonate in D Major: III. Rondò   
for a full performance, go here.  full performance starts at 0:58

Ferdinand Rebay: Guitar Sonata in D minor (Guitar Sonata No. 5)

Guitar Sonata in D Minor: I. Allegro   
Guitar Sonata in D Minor: II. Variationen uber ein Thema von Schubert  
Guitar Sonata in D Minor: III. Scherzo. Presto  
Guitar Sonata in D Minor: IV. Finale. Alla breve  

I'm particularly fond of this one from the cycle and it's no surprise to me it was one of the first of the Rebay solo guitar sonatas to get recorded.  The two E major sonatas are as yet unrecorded.  That first one with the quasi Brahms 2nd Symphony opening movement is a real charmer, though, so somebody should tackle recording that one!

Ferdinand Rebay: Guitar Sonata in A minor (Sonata No. 2)

This was one of the first of Rebay's solo guitar sonatas that was recorded and made commercially available, alongside the D minor guitar sonata.  Both of them are fun pieces and, of course, I hope to discuss the entire cycle sonata by sonata in more detail some time in the future but for the time being I'm linking to performances so that if you've never heard of him or heard his work before you have an opportunity to do that.

Guitar Sonata in A Minor: I. Gut bewegt

Guitar Sonata in A Minor: II. Ruhig und zart

Guitar Sonata in A Minor: III. Scherzo. Lebhaft und mit Humor 

Guitar Sonata in A Minor: IV. Lustig bewegt 

Ferdinand Rebay: Sonata in A (minor) for Guitar (Sonata No. 1)

Where in the orchestral literature German and Austrian music tends to have an outsized influence, those sounds are almost completely marginal in the guitar literature.  Normally when we think of classical guitar works that are in the canonized literature we think of Spanish, Italians and French guitarists (with some Austrian and Bohemian figures, to be sure). Sor, Giuliani, Coste and Diabelli were early and seminal figures in the centuries of guitar history we have.  But the canonized works tend to be defined, for better and worse, by the Segovia legacy.

That means that guitar music written in a Brahmsian style with echoes of Schubert is paradoxically under-represented in the literature in contrast to the saturation of Brahms in piano literature or Schubert in lieder.

Thus we get to one of the seven solo guitar sonatas composed by the Austrian composer Ferdinand Rebay

Sonate in A für Gitarre: I. Allegro moderato
Sonate in A für Gitarre: II. Variationen
Sonate in A für Gitarre: III. Tanz - Rondò
All seven sonatas are not yet accounted for in commercially available recordings but as the years go by this is, thankfully changing.  I'm hoping to blog through the seven solo guitar sonatas of Rebay with more analytical comments some time in the future. 

Thursday, May 06, 2021

Warren Throckmorton proposes Mars Hill past could be a prologue to The Trinity Church future, now might be a time to recall that Driscoll boasted from the Mars Hill pulpit of threatening 20 guys if they talked to his girlfriend in his Peasant Princess series

In August 2014, 21 former elders from Mars Hill Church brought formal charges under the bylaws of the church against Mark Driscoll. Recently, I have been listening to people talk about their experiences at The Trinity Church in Phoenix. To quote Yogi Berra, it feels like deja vu all over again.
For those who complain that I am unnecessarily bringing up the past, I will reply with Shakespeare that, at times, past may be prologue. The charges are linked below; those who are currently involved or recently left Trinity Church may want to compare notes with past Mars Hill elders who wrote in 2014. Anything seem familiar?

Not being in a position to hear what people from The Trinity Church have been through I can't comment about that.  But what I can help them learn, if they come here, is the history of Mars Hill governance and associated governance battles and the kangaroo court proceedings that happened. There are at least 144 posts that deal with governance in terms of history and bylaws and so on.

Joyful Exiles would also be a good place to start if you want to read primary source documents chronicling the termination and trials of Bent Meyer and Paul Petry.

For those who don't know the history of Mars Hill there was a period circa 2007-2008 where Driscoll said from the pulpit he protected Grace emotionally in the following ways, one of which involved intercepting her emails so that she would get contacts from people he wanted her in contact with while, apparently, everything else came to him so he could delete emails at his discretion:

but since that stuff doesn't work try this link below 

But since the link in the old post is long dead, go here instead. Start about 33:04 and you will hear: 

... and this is an ENORMOUS part of my relationship with Grace.  I mean I still remember when I first started seeing her she, uh, she went off to college, I was still in high school and they ran out of housing so they put her in a guys' dorm. And I was like, "What!?" so I got in the car and I drove to the university and I knocked on all the doors of all the guys on her floor. "Hi. My name is Mark. I love this woman. Anyone talks to her, touches her,  thinks about talking about touching her I will beat them. Literally I threatened twenty guys. Just knocked on every door. No way she's gonna get messed with. No way.

Later on when she transferred to another university, WSU, she's five hours away. And she moved out there and her phone wasn't hooked up yet and we didn't have cell phones. And I told her, "When you get there, go to a pay phone. Call me. Let me know you got there safe."  Well she ... didn't call so I got in the car and I drove there. Five hours.  The day I had to work. And I knocked on the door. She answered it and I said, "Whu, you didn't call." She said, "I forgot." I said, "Are you okay?" She said, "I'm okay." So, okay, good, I got in the car and I drove home. Just checking. Six hundred miles.  Who cares? It's Grace.

... even emotionally, people send her nasty emails, text messages, talk trash about me, leave the church and want to take parting shots at her. She has nothing to do with any of it. So I even put a white/black list on her email and some people so some people can email her and the rest come to me. Delete. Delete. Delete. Delete. Delete. Delete. Delete. So that she doesn't have to feel bad because people are taking shots at her. That's my girl. No shots. That's the rule.

or here, about 33:03

Although the pertinent quote from Driscoll is about what he did to, as he saw it, protect his wife emotionally, the actual post was about how Mars Hill Church was purging material after I posted material.  There was a stretch where if I quoted the above section of a Driscoll sermon that the Driscoll sermon went "poof".  Although formally Driscoll stated the reason he took the described measure was so that nobody took shots "at her" this sermon was preached about a year after Petry and Meyer were fired by Driscoll.  But for those of us who heard a lot of Driscoll sermons Grace Driscoll once told her husband, in Mark's account, that if he was like any figure in the Book of Ruth it was Elimelech.

Earlier in 2008 Grace Driscoll had no problem going on record describing her husband as a short-fused drama queen./full
March 6, 2008
Thor Tolo

When the Lord isn’t talking to this man, kiddingly called a short-fused drama queen by his wife, his critics are blogging about him. Some of the sharper barbs make it difficult for Driscoll to hide the hurt.

But in the 2013-2014 period some content was getting purged that shed light on Driscoll's self-attested capacity to be what some might call a control freak.

Mark Driscoll
Ruth 1:1-1:22
January 07, 2007

...Elimelech is the guy--everything falls apart. It looks dark, it looks bad. He takes a poll he makes a plan. He decides Moab has a lower cost of living. Moab has more vocational opportunity. Moab has food on the table. I will make a plan, I will be the sovereign. I will take care of everything. Trust me. I know what I'm doing. He leads well. He plans well. He tries to be the sovereign (they're all going to die anyways). I am Elimelech.

I asked my wife, "Which one am I?" ... She didn't even breath, didn't even take a breath, "Oh, you're Elimelech." And his name means what? MY GOD IS KING! That was me. If you asked me, Jesus, sovereign, lord, king, God! And if I ever need Him I'll call him but I don't think I do because I've got all this taken care of.
And how many of you are Naomi-ish? You’re a bitter, moody, cranky, self-righteous, finger-pointing, brutally honest, frustrating person that God loves deeply, for no apparent reason. You want to know me? Here’s how I work. I start with Elimelech. If that doesn’t work, I go to Naomi. That’s me. “I’ll figure it out. I’ll make a plan. I’ll lead well. I’ll take care of everything. Give me the variables. I got it all figured out. It didn’t work? Well, God, did you not get the memo? I knew exactly what needed to be done! [emphases added] I’m not sure who to call to tattle.” And if we’re honest, we find ourselves at varying seasons in our lives identifying with each character in the story.

During the 2013-2014 period Mars Hill was actively purging content and it was also a period where my friend Steve Hays proposed at Triablogue that what Wenatchee The Hatchet had shown was that the best way to make Mark Driscoll look bad in those days was simply to quote him accurately and in context.

That Driscoll bragged from the pulpit that he literally threatened twenty guys should not be forgotten by anyone who attended Mars Hill.  He has, to date, not addressed one of his more famous quips about how Paul knew that sometimes you had to put a guy through the woodchipper.  

Or take this ... where Driscoll once said from the pulpit in his younger days he picked a fight with his own baseball team:

Part 10 of Ecclesiastes
Pastor Mark Driscoll | Ecclesiastes 7:1-14 | June 01, 2003

How many guys, honestly (you don't have to raise your hands), how many guys in their teens or twenties (I'm in my thirties now so I'm at that place where I WOULD fight but it seems like a lot of work). But especially when I was in my teens I would, just all full of myself, I would just, I liked to fight.  I would LOOK for fights. Certain guys are like this. 

I actually beat up a guy on my OWN baseball team during a game.[emphasis added]  Usually, usually, you know, in a baseball game people why--baseball players are all wussies.  They never fight.  They all just run out to the middle of the field and look at each other which is, I dunno, like prom or something. They're all gazing into each other's eyes. I'm not sure what they're doing.  They hardly ever fight and they NEVER take the bats which, to me, seems like the most OBVIOUS thing.

I love baseball and I can remember when I was playing ball. A guy on my own team in the dugout says something so I attacked him.  Now very rarely do you see a bench-clearing brawl with just one team. Usually the other team's involved. I was a total hothead. I would fight through high school. I fight quite a bit.  Guys would say something, give a cross--you got a problem? That's what he's talking about [the author of Ecclesiastes]. Especially you young guys. Some of you young guys, you're LOOKING for a fight. You want to legitimize it, you want to justify it. Some of you married people are looking for a fight. Provoke. Provoke. Provoke. Boom, off they go like the Fourth of July.

Driscoll once said he could totally be like Haman from the Book of Esther.
Jesus is a better servant
October 28, 2012
Mark Driscoll

Now, I’ll say this: this is really convicting for me, personally. I’m in a position of influence and leadership, and I know that my heart inclines toward pride, so pray for me and pray for your senior leaders that we would clothe ourselves in humility. This is a haunting reality. I look at Haman and I realize, “Man, I could be like him in an instant,” and at times, I have been. And by God’s grace, I don’t want to be. Haman’s pride is tragic. [emphasis added]

Here’s what kills me about Haman: he wants to be like his king. Wrong king. We all want to be like our king, but he’s got the wrong king. See, his king is proud, not humble. His king uses people, doesn’t love people. His king loves the glory and doesn’t love to glorify God. Who’s your king? Who do you esteem the most? Who do you want to be like? Who do you look up to? If his name isn’t Jesus, wrong king. Wrong king. So, he is the case study for pride.

Chapter 6, verse 12. “But Haman hurried to his house.” He ran home, “Mourning with his head covered.” This is public mourning. “And Haman told his wife Zeresh and all his friends everything that had happened to him.”

Here’s what’s weird: he’s got a better marriage than King Xerxes. [emphasis added] Esther previously said that she hadn’t even seen her husband in thirty days, and they live in the same palace. It’s possible to be a really proud, ruthless, horrible man who’s got a decent marriage. [emphasis added] He goes and talks to his wife, the one thing that the king doesn’t do.

Do you see where, perhaps, even in his own heart, he’d say, “Well, I’m not a ruthless, horrible man. I’m a good family man. You know? I’m good to my wife. I’m good to my friends”? This is how proud people justify their inconsistency. He seems to have a decent marriage and he does have some friends, and he’s going to be a mass murderer. [emphasis added] So is the human heart.

This could be a moment where Mark Driscoll testified against himself.  He may be a loving husband and even a doting father, but that doesn't mean he can't be a proud, ruthless, horrible man to people in his church.  

Warren Throckmorton has the interview in two parts with Dave Bruskas and Sutton Turner.  It took a long time to cross reference material in that to what I was able to chronicle on my end regarding governance, governance battles and in one case a post-employment survey sent out and all of that is over in this series.

If the people at The Trinity Church don't know the last twenty years of who they're dealing with because access to who Mark Driscoll was and even said he was over the last twenty-five years is hard to get to then history may very well repeat itself. 


Without commenting directly on recently circulating reports, there was a report or rumor at one point that Wenatchee The Hatchet was investigated at the behest of Mars Hill leadership and possibly even tailed.  Naturally, I hope that wasn't the case.  If it were the case, however, then confirmation that such surveillance activities were undertaken might be a relevant thing to know if there are reports of authorized surveillance in a new context, if only to establish that the reported pattern is either new or has some kind of precedent. I took the rumor to be a fabrication of some kind on the part of someone who wanted to believe it was true, much like some progressives still believe Mark Driscoll said anything about Gayle Haggard when he didn't. 

Atanas Ourkouzounov: Guitar Sonata No. 5

Guitar Sonata No. 5: I. Movimento fluido
Guitar Sonata No. 5: II. Scherzo diabolico 
Guitar Sonata No. 5: III. Partite variate 

You can hear all five of these sonatas on the Naxos release that's been out for a couple of years.  This is one of my favorite cycles of solo guitar sonatas in the contemporary literature.  

Atanas Ourkouzounov: Guitar Sonata No. 4

Kostas Tosidis plays Ourkouzounov - Sonata No. 4 
Guitar Sonata No. 4: I. Allegro con spirito
Guitar Sonata No. 4: II. Lamentoso
Guitar Sonata No. 4: III. Allegro inquieto

Atanas Ourkouzounov: Guitar Sonata No. 3 "Cycling Modes"

Guitar Sonata No. 3 "Cycling Modes": I. Vivo
Guitar Sonata No. 3 "Cycling Modes": II. Poco rubato 
Guitar Sonata No. 3 "Cycling Modes": III. Presto nervoso

Atanas Ourkouzounov: Guitar Sonata No. 2 "Hommage à Bartók"

Guitar Sonata No. 2 "Hommage à Bartók": I. Allegro 
Guitar Sonata No. 2 "Hommage à Bartók": II. Scherzo 
Guitar Sonata No. 2 "Hommage à Bartók": III. Interlude
Guitar Sonata No. 2 "Hommage à Bartók": IV. Toccata  

Atanas Ourkouzounov: Guitar Sonata No. 1

Today's featured cycle of solo guitar sonatas is the cycle composed by Atanas Ourkouzounov
Guitar Sonata No. 1: I. Allegro assai
Guitar Sonata No. 1: II. Adagio quasi canzone 
Guitar Sonata No. 1: III. Vivo

a brief note about Christopher Nolan's Tenet--James Cameron style time paradox with Michael Bay set-pieces in the service of the kind of plot Nolan seems incapable of pulling off, a simple heroic arc (some thoughts on why he can't do that)

Even though I've liked Nolan's films overall his films since Interstellar have had a curious trajectory.  Before I comment about that I want to make a comment about how one of the shortcomings of film-by-film criticism is that people who take one movie at a time tend to lose sight of a director's catalog or a screenwriters' cumulative arc.  So with that in mind I want to highlight a theme in Nolan's films running from Memento up through The Dark Knight, the self-deceiving protagonist.  A director so consistently drawn to protagonists whose motivations are based on deliberate or unrecognized moments of self-deception across two decades was going to have a hard time selling us a simple and uncomplicatedly ethical protagonist even if he's played by John David Washington (who I hope has a long and hugely successful career).

Wednesday, May 05, 2021

Angelo Gilardino's Sonata di Lagonegro aka Sonata No. 5

Today's musical feature will be the five wonderful solo guitar sonatas composed by Angelo Gilardino, if you haven't followed the posts as they've gone up.

Sonata di lagonegro: I. Delle Campane

Sonata di lagonegro: II. Lauda in Santa Maria degli Angeli

Sonata di lagonegro: III. Levantina

Angelo Gilardino's Sonata del Guadalquavir aka Sonata No. 4

Sonata del Guadalquivir: I. Memorias

Sonata del Guadalquivir: II. Leyendas

Sonata del Guadalquivir: III. Lejanias

Angelo Gilardino's Sonata Mediterranea aka Sonata No. 3

movement 1

movement 2

movement 3

Angelo Gilardino's Guitar Sonata No. 2

Sonata No. 2 "Hivern florit": I. Allegretto semplice

Sonata No. 2 "Hivern florit": II. Andante molto tranquillo quasi adagio

Sonata No. 2 "Hivern florit": III. Allegro vivo e brillante

Angelo Gilardino's Guitar Sonata No. 1

Gilardino Guitar Sonata No. 1, i

Cristiano Porqueddu's performance

movement 1

movement 2

movement 3

movement 4

John Borstlap asks "what is the use of the symphony orchestra?" and answers that asking what its utility is is a mistaken question

 The tendency of many orchestras in the Western world to try to make themselves ‘useful’ to society, to become instruments of social change, results from the decreasing status of classical music as a whole, and especially one of its most expensive mediums: the symphony orchestra.

Justification of the costs has now to be found in some form of utility that lies outside music because music as such becomes much too difficult to see as something socially relevant. In a time when the notion of culture, and of psychological and spiritual subjects, is eroding, only the material and the financial aspects of life remain visible, and social injustices because they are understandeable by most people, including the culturally-challenged, on the most basic level.

So, in an attempt to survive in an increasing hostile environment, where classical music is seen by large groups as 'white suprematist', 'elitist', 'inaccessible', 'outdated', 'irrelevant to the modern world', a number of people at symphony orchestras think it necessary to turn away from the idea that classical music is a common good in itself and accessible to anyone, and to prostitute the medium. It is like an upperclass woman whose husband has left her and emptied the mutual bank account, and who desperately tries-out selling herself for survival.

But the idea that a symphony orchestra is not, or less, relevant to society if it is not directly connected to the needs of social change, is entirely wrong. Classical music is not an utility instrument, it is an art form which has no other ‘use‘ than being itself. In a world where so much is measured for its utility, it is the arts who offer an island where the value of a psychological and spiritual experience can be found in itself, as itself, and not in relation to some ulterior motive. Classical music addresses itself to the inner experience of man, and not to the outer world with its worldy concerns and needs. It is the opposite nature of classical music to the nature of the world that this unique art form finds its value and relevance, to compensate for the materialist, commercial, trivial and utility-saturated world of modernity, a world which tends to leave people nihilistic, depressed, exhausted and meaningless.

The Perilous Life of Symphony Orchestras is literally the title of a book, and so also The Crisis of Classical Music Education.  Throw in Orchestrating the Nation and Antonin Dvorak's New World Symphony by Douglas Shadle and there are writers who have pointed out that the orchestral tradition has functionally been on life support in the United States since its beginnings and that bids at developing a symphonic literature have been hamstrung by, alternatively "The Beethoven problem" and "The Wagner problem".  Mark Evan Bonds referred to The Beethoven Syndrome.  Bonds has written about the history of the idea of Absolute Music, as well as about Music as Thought in the last few years. Much as I admire Beethoven's piano sonatas, string quartets and other works the symphonic idiom has a history of having contenders for an American canon that fall by the wayside through a mixture of critical lack of reception and the weight of comparisons to European predecessors.

Writing as a guitarist on the West coast of the United States who doesn't actually subscribe to the tenets of German Idealism or Wagnerian variations of art religion I would venture an idea that the future of classical music, at least in the United States, is going to be more in choral music, song, and chamber music than it is going to be orchestral.  The orchestra survives more in film and even video game music than in contemporary works.  This is not some way of saying I haven't heard any symphonic works I've liked in the last twenty years.  I like Samuel Jones' Tuba Concerto, I even liked it enough to go hear it twice in live concerts.  But as I have been proposing for a few years, the symphony may, after a few centuries of prestige, be going the way of the votive mass.  

Tuesday, May 04, 2021

Dusan Bogdanovic's Guitar Sonata No. 4

Guitar Sonata No. 4: I. Appassionato, ritmico, rubato, meno
Guitar Sonata No. 4: II. Lento, rubato
Guitar Sonata No. 4: III. Allegretto, meno, rubato, allegretto
Guitar Sonata No. 4: IV. Allegro ritmico, poco sostenuto
full performance at

So after spending years incubating the idea of a long-form analytical series blogging through these sonatas I haven't so much thought better of that ideas as I thought it might not be a bad idea to start posting links to performances so that people who don't already know about the Bogdanovic sonatas can hear them.  Score analysis can come later. 

Dusan Bogdanovic's Guitar Sonata No. 3

Sonata No. 3: I. Moderato appassionato
Sonata No. 3: II. Lento rubato
Sonata No. 3: III. Allegretto
Sonata No. 3: IV. Allegro brillante
full performance with score at 
and at 

Dusan Bogdanovic's Guitar Sonata No. 2

Sonata No. 2: I. Allegro deciso e appassionato
Sonata No. 2: II. Adagio molto espressivo, poco rubato
Sonata No. 2: III. Scherzo melanconico, cantabile con dolcezza
Sonata No. 2: IV. Allegro ritmico

full performance with score at
full performance by composer at

Dusan Bogdanovic's Guitar Sonata No. 1

Atanas Ourkouzounov - Edin's Sketches (2021)

Atanas is performing this piece and, of course, I'm an admirer of his work. I don't know exactly when I'll blog through the five solo guitar sonatas but I intend to do that at some point.  I might break down and just have posts that let people listen to the works and get around to analytical blogging about the pieces later.

Julia Duin's coverage of the epic backpedaling or "Trump is president in heaven" in American charismatic and Pentecostal prophecy scenes is something you should read

Now I ended up being ex-Pentecostal for a lot of reasons and one of thosse reasons was skepticism about the prophecy industries.  I won't bore you with the details now when I could share thoughts later on Crawford Gribben's magnificently readable Writing the Rapture later (his book on survivalism and Christian reconstructionists in the Pacific Northwest is his new book out as of late March and I want to write about that one, too). 

But one of the deal-breakers was paranoid style end-times prophecy and its fraternal twin utopian prophecy.  We just saw an example of the latter with proclamations that Trump really won the election but Biden and company stole it.  Well, that's a utopian proclamation/prophecy for those who wanted Trump to win and simultaneously affirm prophetic activity.  That those people now have to contend with the reality that those prophets have proven false has lead to a rift within the U.S. Pentecostal and charismatic prophecy communities that Julia Duin has done a very good job of covering since November 2020.

The older I get the more I realize my western Oregonian Pentecostal upbringing was an aberration, what with an Assemblies of God youth pastor introducing me to the work of textual scholar Gordon Fee; introducing me to the concepts of exegesis and hermeneutics; and perhaps most unusual of all, sharing with me his  ambivalence about the legacy of Kierekgaard (admired his meditations on Christian love but regarded Kierkegaard's apologetics as a complete disaster). Maybe recommending Solzhenitsyn was not so unusual for a Pentecostal youth pastor but the rest sure was, as has become more apparent to me in decades of hindsight!

Sunday, May 02, 2021

links for the weekend: The Tallis Scholars have recorded Josquin's masses (all of them); move among Christian charismatic prophets to reform movement after egregious failure in predicting Trump won 2020; and the case for a kindler, gentler Emperor Nero

It turns out Peter Phillips and the Tallis Scholars have finally recorded all of the masses of Josquin des Prez.

For as often as socially conservative Protestants in the United States bewail the epidemic of singleness it’s worth pointing out that the whiplash of economic disruptions can make it challenging for the kids to “adult” if the job market shifts and stable jobs are hard to come by.  So, once again, some authors at The Atlantic make a defense of the kids these days who are charged with being slow to grow up. 

Finding your first steady job in the midst of a pandemic can’t be easy for seasoned workers but I feel for the kids who are setting out to start careers now in the era of covid-19. 

Julia Duin has a feature at The Roys Report on a move to establish standards for prophetic statements in charismatic and Pentecostal scenes after the debacle of self-designated Christian prophets claiming that Trump would win the 2020 election.

 At GetReligion Richard Ostling revisits how the 2020 election in the United States revealed shifting electoral dispositions in white Catholic voters.

Was Emperor Nero really as legendarily bad as has been said about him?  The Guardian has a feature to the effect that that question is germane by way of a museum exhibit. 

The new, nicer Nero is not exactly "news" in that this was something that got some coverage last October. 

But what if Nero wasn’t such a monster? What if he didn’t invent the spectator sport of throwing Christians to the lions in the Colosseum? What if he wasn’t the tyrant who murdered upstanding Roman senators and debauched their wives? Indeed, what if the whole lurid rap sheet has been an elaborate set-up, with Nero as history’s patsy? After all, we have no eyewitness testimony from Nero’s reign. Any contemporaneous writings have been lost. The ancient Roman sources we do have date from considerably after Nero’s suicide in A.D. 68. The case against Nero, then, is largely hearsay, amplified and distorted over two millennia in history’s longest game of telephone. Besides, no one really wants to straighten out the record. Who wants another version of Nero? He’s the perfect evil tyrant just the way he is.

A few lonely voices have come to Nero’s defense. In 1562, the Milanese polymath Girolamo Cardano published a treatise, Neronis Encomium. He argued that Nero had been slandered by his principal accusers. But Cardano was having his own problems with the Inquisition at the time. Sticking up for a guy who, among other things, supposedly martyred the first Christians for fun was not likely to help his own cause. “You put your life at risk if you said something good about Nero,” says Angelo Paratico, a historian, who translated Cardano’s manifesto into English.

Mark Driscoll has never stopped being a monergist, but he's pivoted a bit on what kind of monergist he'll say he is

A couple of years ago Mark Driscoll was reported saying he thought the five points of Calvinism was garbage. 

This puzzled former Mars Hill media head Justin Dean who nevertheless commented (rightly, as we'll see) that he didn't think Mark Driscoll had (or would) actually change his core views.

That Driscoll was not a strictly Reformed type on the limits of the atonement goes back to his 2008 Doctrine series where he advocated for what he called "Limited Unlimited atonement",  which has historically been identified within the Reformed traditions as Amyraldianism.  Driscoll has lately been restating his views on soteriology and atonement in Duck, Duck, Doom (as distinct from his preferred nomenclature in the Mars Hill years  of "duck, duck, damn".

Bob Smietana's at The Roys Report on Jed Ostoich's time as a Docent Group research assistant to Mars Hill, revisiting how the initial MHC response to the 2013 plagiarism controversy was to shift blame to a research assistant

Bob Smietana has something at Julie Roys Report on how a pastor was caught having plagiarized Mark Driscoll sermons who, as longtime readers will know, had his own plagiarism scandal a few years back.

Smietana also has an article about ghostwriting that mentions Jed Ostoich.

Even longtime readers of Wenatchee the Hatchet might not recall that we looked at what the inadvertent ghostwriter for Mark Driscoll had to say back in 2019 about his time with the Docent Group.

Now the reason I mention all of this is because having even a single person go on record about doing Docent Group research on behalf of Mark Driscoll in the past is salient due to the fact that when the plagiarism controversy erupted in late 2013 with Janet Mefferd's on air conversation with Mark Driscoll, an early public response on the part of Mars Hill was to admit to citation mistakes but shift them to research assistant by implication. This was something that was covered back in December 2013 when the situation had just begun: