…It’s
amazing how man works: he is mostly directed towards the future but a huge part
of him is left in the past. Only a small portion of him lives in the present.
My work for the film ‘Queen Margo’ allowed me to take my creative
imagination far back into the past, to events of many centuries ago. It was a
fortunate opportunity since the breath of our ancestors is still alive in all
of us. Our brain and our muscles are driven by the impulse of the blood of
warriors, winegrowers, shepherds, love-struck and disappointed youth of the
Carpathian and the Apennine mountains, the Pyrenees…
When Sergei Zhigunov, a wonderful actor and producer, offered me to compose music for the TV series ‘Queen Margo’ I was happy not only about the attractive job opportunity but also about the chance to revisit myself in the past. On the way home from the studio I already started composing ’Rondo’, one of the scenes from the future film. It came to me first, then the ‘Huguenots’, the theme of Margo and La Mole’s love… I wanted to distance myself from the events on the screen and not retell the events but to comment on them. I was drawn by the meditative quality, the beauty and the cruelness of the storyline. These were simultaneously happy and unhappy characters, and I was their small great-great-grandson who had heard through the abyss of centuries mountain range spines, sea waves, volcano explosions, the rattle of their spears and their heartbeat, their conscious nonsense, their aspiration to stand tall when time was pressuring them, to spread their elbows when the walls were pressing on them, to take a deep breath when their chests were bound by chains. To experience such connection between eras brings great joy.
When Sergei Zhigunov, a wonderful actor and producer, offered me to compose music for the TV series ‘Queen Margo’ I was happy not only about the attractive job opportunity but also about the chance to revisit myself in the past. On the way home from the studio I already started composing ’Rondo’, one of the scenes from the future film. It came to me first, then the ‘Huguenots’, the theme of Margo and La Mole’s love… I wanted to distance myself from the events on the screen and not retell the events but to comment on them. I was drawn by the meditative quality, the beauty and the cruelness of the storyline. These were simultaneously happy and unhappy characters, and I was their small great-great-grandson who had heard through the abyss of centuries mountain range spines, sea waves, volcano explosions, the rattle of their spears and their heartbeat, their conscious nonsense, their aspiration to stand tall when time was pressuring them, to spread their elbows when the walls were pressing on them, to take a deep breath when their chests were bound by chains. To experience such connection between eras brings great joy.
I had unlimited
opportunities as far as execution. I wanted to make the music sound austere and
tender at the same time, hard and light as lace. Not everything came out
exactly as planned, but I really hope that the result is satisfactory and you
have enjoyed the music. To an author there is no higher pay for his labor than this…
Eugen Doga
Music for the TV series ‘Queen Margo’.
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