In the Mirror of Moments. Part 2.

Certainly, it was a kick out: a small revenge for having been asked stereotyped questions again and again. And he rightly regarded himself wider than such questions supposed him to be. Certainly, it could not but evoke regret and vexation that Melodia recording firm was lagging behind some Western companies in producing his discs; that his symphonic, vocal, choral and chamber-instrumental music was played in concerts so seldom; that a real appreciation was gained only by several songs and musical pieces, such as: / Dreamed I Reared the Sound of Rain..., My White City, Waltz for the film A Hunting Accident, Ballade for Ion Drutse's play The Birds of Our Youth, and a few more, pitilessly exploited in TV and radio programmes.

In the Mirror of Moments. Part 1.

Elena Shatohina. 1989. 

Though summer was still in full swing and there could hardly be any inkling of autumn in the air, it started raining repeatedly after the sunset. The music of rain was in the trembling of wet glossy leaves, it was heard in the tyres' rustling of the cars, that moved slowly through the downfall of rain.

The daylight has faded in the room, and only a 'noble' grand piano still bears vibrant specks of light on its varnish. The lid of the piano is open, as might a case of a typer or any other working tool be, ready to call the master in the most inappropriate time of the day or night. Slightly stooping, the composer walks to and fro, carefully skirting the angles of the piano, as if indifferent to the instrument, but still never forgetting about it. He is like an actor, not engaged in the scene, who is seemingly indifferent to the stage director, but ne­vertheless watchful and sensitive to his tiniest call and wish.