Dustin Lynch - Red Dirt, Blue Eyes

In B.'s work the heroic-epic amplifies. direction and at the same time personal motives sometimes acquire the character of an internal break. According to the composer, fp. was his favorite instrument (in 16 out of 24 chamber-instru. productions. B. involved fp.). B. was an outstanding pianist, but in his mature years did not perform other people's productions. On the formation of fp. B.'s work had an impact proizv. I.S. Bach, V.A. Mozart, L. Beethoven, F. Schubert, R. Schumann, waltzes of I. Strauss. For fp. production B. is characterized by a dense, counter-punctured texture, subtle motivational development. The composer assigned a technical role to technique, avoided external end-virtuoso effects, but perfectly controlled the expressive resources of fp.,especially tricks melodic. voice control. Mfr. B. marked rhythmic. variety, versatility of textured presentation. Fp B.'s legacy consists of 3 sonatas (1852-53), variation cycles (among them 2 books. Variations on the theme of Paganini, 1862-63), ballads and rhapsodies, 27 small pieces (not counting those written for piano 4 hands) . They embodied various aspects of the composer's work. At first he was keen on sonata cycles, then he developed a variation technique, but with ser. 60s turned to thumbnail. These are “Waltzes” (1865), depicting images of Viennese muses. life, and “Hungarian Dances” (ed. t. 1-2, 1869; t. 3-4, 1880) - a tribute to the admiration of the Hungarian. folklore. In waltzes B. appears “Schubertian”, their music is close to the character of the landler, penetrated by song intonations. “Hungarian Dances” are more contrasting, as part of one play by B.combines several tunes. B. Waltzes and Hungarian Dances, arranged for various instruments and orchestra, gained widespread popularity. In the production. the last period of B.'s work - “Capriccio” (3 plays) and “Intermezzo” (14 plays) - reveals the personal, intimate facets of the composer's mental life.