On the old board, we would get three or four versions behind before Ruben would be asked to upgrade. Now, Ruben upgrades the board soon after the new version is out.
The newest upgrade has many new things for those who do UBBCode or the technical stuff.
For us, we see less bugs, more security and the following:
Version 7.7.5 brings a new responsive layout to your gallery forums, and a new image viewer for attached images. YouTube URLs are now automatically inlined without the need to wrap them in BBCode. Just paste the video's address where you want it to display within in your post. This version contains added features, updates, maintenance items, and fixes.
Koby Read my last post. Contrary to Bert's statement we have not upgraded the forum yet. I plan to do that next week. So for now select the insert media tag icon. And select youtube it will prompt you with what to input.
They will still work after the upgrade.
Here is your post using the insert media tag
There is no such thing as stupid questions , Just stupid answers.
Just upgraded the forum software now you can just simply type the youtube url without using the media tag tool. For this post all I did was enter the url:
Code
https://www.youtube.com/watch?v=9Gx4qOp4lIo
Last edited by Ruben; 12/13/20202:37 PM.
There is no such thing as stupid questions , Just stupid answers.
No there is some new code in this forum software that recognizes that it is a youtube video automatically so it formats it to display. On a regular website site html page you will need to use the share link url from youtube.
For example of your taylor switt video. Visiting youtube the share selection shows for embed to use.
We may need more. So, how many times does one have to listen to these while we wait for v11.2 to be the official release? Is January 1 still the deadline for Surescripts and AC?
@Ruben
Should there be a limit per user per month to make sure there is enough storage space on the forum?
It does not store the video file on this site it will only use bandwidth when played,Think of it as a media player that connects to a streaming service , because really that is how it works,
There is no such thing as stupid questions , Just stupid answers.
How many times must one listen to Vivaldi before AC 11.2 ushers in the new millennium for Surescripts on January 1st?
I'm glad that you asked!
***
Unfortunately, Vivaldi left us only 500 concertos and sinfonias.
(I scorn his nearly fifty operas, roughly ninety sonatas, and scads of sacred choral music.)
Let's see . . . it's December 14th, so I have 17 days left.
Given an average of 10 minutes per concerto, I calculate that I can listen to RV 87 through RV 585 before the New Year by enjoying a mere five hours a day of Vivaldi.
***
500 concertos x (10 minutes/concerto) = 5,000 minutes
5,000 minutes / (60 minutes/hour) = 84 hours
84 hours / 17 days = 5 hours/day
***
Luckily, multiple performances of all of these are available on Youtube, so I don't have to waste time shoving my dusty CD's in and out of the computer.
Even more luckily, the open source YouTube-DLG provides a convenient interface for downloading and storing the music.
With my Christmas present (do you really think anyone else is going to) I bought some very expensive top-of-the-line headphones. I set my noise cancellation to allow all ambient noise except for my MAs. The music isn't as good, but oh excluding the MAs!!
So, I play classical in the AM and rock in the pm. Can you give me a list of good conductors, etc for good classical music without operas?
You may be looking for later classical directors leading large orchestras, while I want earlier baroque groups focused around soloists.
As a very, very, very crude explanation . . .
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In classical music, famous directors herd big orchestras through long symphonies by Beethoven.
It's similar to a half-time show with a marching band performing massive, elegant maneuvers.
It takes a very wide camera shot to show the entire orchestra that plays that stuff.
There are whole platoons of violins, cellos, trumpets, and every other kind of instrument.
The music is written for the whole group, not any particular instrument.
So you're looking for Ozawa or Bernstein or von Karajan or Abbado and so on.
They're directors and their instrument is the baton.
The music often finishes up good and loud.
Here's a classical flash mob orchestra starting out with a single bass player and building up the Ode to Joy:
[video:youtube]
***
In the earlier baroque, a dozen virtuoso musicians play shorter concertos by the likes of Vivaldi, Bach, and Telemann.
Rather than a half-time marching band, it's more like a Fred Astaire dance routine with a few other hoofers next to him.
The director may be the fellow playing the harpsichord (the piano is a later invention) for the basso continuo line.
Or the "director" may be the soloist on the violin.
You can recognize all the players, and they'd fit on a very small stage.
They play individual cadenzas.
The baroque is written with a particular instrument from that era in mind, so there are concertos for violin, cello, lute, mandolin, oboe, natural trumpet, and even the new-fangled clarinet, plus forgotten instruments like the viola d'amore.
So the baroque emphasizes the small group and the soloist.
The violinist Giulani Carmignola is fine example of the baroque director-soloist, playing with the Virtuosi of Rome, the Sonatori della gioiosa Marca, the Venice Baroque Orchestra, and Il Giardino Armonico, which all followed in the footsteps of I Musici.
I look for the baroque soloist--Heinz Holliger plays Vivaldi's thirty or so oboe concertos, Klaus Thunemann plays the nearly fifty bassoon concertos, both of them as hired guns for the string players of I Musici. I like Holliger and Thunemann's performances better than many other soloists.
The same is true for the violin pieces. There are lots of recordings of the opening movement of the first concerto of La Stravaganza, but the one that's my ring tone is the late Carmel Kaine playing with Neville Marriner's Academy of St. Martin-in-the-Fields. She got it right, and everyone else is playing in her shade on Op. 4 No. 1:
***
Of course, my crude distinction between earlier small baroque and later large classical breaks down left and right, since the composers were just writing music, not trying to fit into pigeonholes. Handel, for example, was baroque, but wrote for much larger orchestras in a more classical manner.
To close with the hopefully most outrageous illustration of the difference, the earlier baroque is more like the 8-member Ukelele Orchestra of Great Britain with Jonty the bass-ukelele player whistling Bach:
While the later classical is more like Andre Rieu explaining his orchestra during Funiculi Funicula (which is actually the even later Romantic):
Regardless of genre, they're all lots of fun. Thanks for the excuse to indulge myself!
***
Since that wasn't much practical use for someone looking for classical directors, my best suggestion is to switch from the radio if you can to Youtube, where you can find exactly what you want instead of what some disk jockey likes.
Now it's back to figuring out why a medical office payroll program ate itself yesterday.
"Why is there a perfectly good piece then ruined by some fascetta or whatever the word is opera."
But that's never stopped me . . .
***
If you're wondering about the slow middle movement in each of the twelve Vivaldi concertos that I linked above . . .
Practically all Vivaldi concertos follow that three-movement structure of fast-slow-fast (allegro-adagio-allegro).
The change in the middle of the concerto has a reason.
The switch to brisk and happy to a slow, contemplative, casual, strolling, quiet, sad, wistful, dreary, dull, sleepy, boring--
Er, where was I?
The relaxed middle movement provides contrast to the rest of the concerto, adding dimension, depth, and variety.
Or so I'm told.
Luckily, modern computer technology lets us skip forward to the brisk third movement.
(Another reason to listen on a computer, not a radio, as I suggested earlier.)
***
The middle slow movement was not Vivaldi's forte, but then it's not really anyone's best music--a tempo slower than your heartbeat hardly stirs the blood.
In the hands of Rossini, however, a slow movement builds wonderfully to the Lone Ranger galloping across the Alps--
Er, Rossini's pastoral Call to the Cows in William Tell builds up until it explodes in the March of the Swiss Soldiers (without any silver bullets):
Actually, Rossini does it twice here--the slow Prelude builds up to the Storm at 3:05, then the lovely Call to the Cows begins at 6:02 and provides the contrast to the trumpet blasts that everyone now anticipates at 8:45.
***
But you may not have been asking why we have to sit through the middle slow movement of a baroque concerto
Instead, you may have simply stumbled across a nice Vivaldi sinfonia and been horrified when a complete opera ensued with a baroque chamber orchestra playing desperately against baritones and sopranos howling in nearly incomprehensible Italian.
What's a sinfonia?
Just as allegro-adagio-allego boils down to fast-slow-fast (or happy-sad-happy) . . .
So does the sinfonia played before an opera boil down to this-is-a-shortened-concerto-played-to-get-the-damn-opera-audience-to-stop-talking-and-take-their-seats.
Vivaldi recycled a number of concertos into sinfonias when he began writing the music for almost fifty operas.
I skip Vivaldi's operas because they illustrate Benchley's complaint that “Opera is when a guy gets stabbed in the back and, instead of bleeding, he sings.”
***
That is, opera music is often ill matched with action.
The far more successful operas like the modern Superstar or Evita have people actually talking to each other about complicated problems, rather than prolonged arias that amount to saying ouch, I've been stabbed in the back.
One way to illustrate the opera problem is the Four Seasons, the first four concertos of Vivaldi's twelve-concerto Op. 8, the Contest between Harmony and Invention, often cited now as the most recorded music of the Baroque, played by hundreds of orchestras:
There's even a cottage industry now of different instruments playing just the Storm presto third movement from Summer.
Here's the way the Storm was written for a chamber orchestra:
Here's a solo virtuoso showing off the presto:
And here for contrast is an electric guitar doing its best:
***
So what's the point to be learned about Vivaldi's opera from the Four Seasons?
Well, apart from seizing an excuse to listen to the Summer presto several times . . .
You'd never know that the original scores for each of the Four Seasons were published with individual sonnets in Italian to be read with the music:
The music endured, but the dialogue is largely forgotten.
Similarly, a lot of what you called perfectly good pieces are then ruined by a fascetta opera, where dialogue is stuck into the cracks of essentially chamber orchestra (a small band or fascetta) music.
Webber and Rice succeeded because they wrote the music for the lyrics instead of just gluing existing concertos to whatever words were handy.
[ducks before outraged largo-lovers, opera-buffs, and electric-guitar-aficionados can purchase rotten tomatoes and reply]
Thanks again for a chance to wallow in Vivaldi instead of working on why the doctor's pdf won't display.
(The doctor's EMR program received a text error message and then hid it inside an inappropriate *.PDF file, which led Adobe Reader to throw up its hands in despair, somewhat like Vivaldi shoe-horning an intricate baroque concerto into an opera about the Aztec emperor Montezuma.)
Well, I don't hate Metallica, I just think that the electric guitar is ill-suited to other music.
Here's an example that I have trouble listening to all the way through, Metallica playing Morricone's Ecstasy of Gold:
When all the notes in an intricate melody are played either loud or louder, they eventually smother each other and sound confused.
Unfortunately, the electronic guitar's chief advance came when Nigel Tufnel discovered eleven on the volume knob.
The electric guitar is good for music meant to be played that way, but not so good for other kinds of music.
"We Will Rock You" wasn't meant for two violins in scordatura:
It's literally good stomp music, not baroque.
***
Here's how Morricone originally intended Ecstasy of Gold to sound, along with some marvelous video work by Leone:
Just a masterpiece lurking in a spaghetti Western, with Tuco running faster and faster as he looks for the gold buried under Arch Stanton's cross.
(For cinema buffs, the dog was unscripted and actually startled Eli Wallach.)
***
And here's Morricone showing what a composer-conductor of the kind that you originally mentioned can do with that music and a full orchestra, a large chorus, and a great soprano soloist in a red dress:
The wordless singing appeals to me, since I can rarely understand operatic singing.
***
Apart from yet another opportunity to re-play music that I enjoy, my point is that it's more fun to use something that I don't particularly like to illustrate things that I do.
Now it's time to slog through some drive imaging for backup. Thank heavens for remote control programs, so I don't have to drive out to distant offices and can entertain myself with idle scribbling like this while playing music this:
Bolling chose "Baroque" on purpose iwhen he wrote "Baroque and Blue" with Rampal in mind.
Incidentally, Vivaldi wrote differently for different instruments. With a violin, you can play as long and fast as your talent allows, but other instruments need rests and other adjustments. If you're a true Vivaldi nerd, your spreadsheet will show that of the dozens of recordings of the Four Seasons, the shortest and fastest version is Rampal on the flute, since the only way to avoid gasping for air in the long passages is either to play too quietly or else to play the notes faster.
Any credit should be given to poor Ruben, who started all this by innocently announcing his new board option to embed links to YouTube--
And who must be muttering that he didn't mean for things to end up like this, much like the researchers who hoped that Sildenafil citrate would help patients with chest pain and high blood pressure.
Any credit should be given to poor Ruben, who started all this by innocently announcing his new board option to embed links to YouTube--
And who must be muttering that he didn't mean for things to end up like this, much like the researchers who hoped that Sildenafil citrate would help patients with chest pain and high blood pressure.
Cheers,
Carl Fogel
No problem I enjoy the songs. Here are some more.
There is no such thing as stupid questions , Just stupid answers.
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