Nhac Vang Chon Loc - tran Thai Hoa - Xin Con Goi Ten Nhau

In 1867, B. published an article (the only one in his entire life), which was a kind of his art. manifest. In it, he demanded truthfulness from the artist, scourged pseudo-learning, pedantry. In con. 60s B.finishes some previously begun essays, including symphonic suite “Memoirs of Rome” (1866-68), fp. plays (among them - “Chromatic concert variations”, 1868), publishes collections of songs. 70s - a new period in the work of the composer. The days of the Paris Commune did not pass without a trace for him. The slogan proclaimed by the Commune - “Art is to the masses” was close to B., and in his further work the composer more and more consistently affirmed the democratic. ideals. In 1872 there was a post. opera B. "Jamile" (on the plot of the poem "Namuna" Musse). The poetic music of the opera is conditionally devoid of oriental features, false ethnography; taking advantage of some arab. melodies (the scene is Cairo), B. developed their rhythm-intonation rhythms inherent in them, and recreated the nat in subtle landscape and genre scenes. color. The music is dominated by pastel colors,the composer found new techniques developed by him in subsequent works. So, instead of tradition. Bravura weekend aria, he wrote for the heroine a simple song nar. warehouse ("Gazelle"); in conclude. duet Jamila and Haruna multifaceted shown decomp. shades in the development of the emotional states of the heroes (anticipation of the dynamic dialogue scenes of Carmen). Creat. finds richly and the following production. B. - music for the drama “Arlesian” by Dode (1872, theater “Vaudeville”, Paris), the plot of which has much in common with dramas. ups and downs of "Carmen."