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.

I was puzzled: Doga was given great of public attention,-but, as it turned out, it was not a real understanding and appraisal, since it did not regard his work in its full scope, in all its controversies and complexity. An artist expresses himself in various forms and shapes, but we, nevertheless, would choose only one feature, one movement, only because we took it as the most characteristic of him. Such approach is both unjust and harmful. And I had to go to the recital, one of his first 'serious' concerts. It was the time when everything was gaining speed and going on in crescendo way. He performed many things, and then — his Waltz again. The magical sounds of this waltz — a living classic already — astringent with bitter misgivings, soared and died away in the air.

Emil Lotyanu, the film director of A Hunting Accident, once said that the waltz on the lake shore was the film's living nerve, 'the finiest texture of sounds, woven of dreams and realities, of cravings and forebodings...' A human drama was told by the music without words. If one tried to translate this waltz into the language of colours, he would most likely do it in light, transparent, energetic and free strokes of pastel shades. Doga's music is impressionistic owing to its unsteady and everchanging nature. It is poetic, translucent, it does not move, but it goes in a fluent and gracious flow.

The waltz creates a visual image of the lake waves, going round in circles. These circles are getting wider and wider in the space, sounding of despair and ruin to Olga, lonely and proud, dreaming of happiness. The music provides new implications for the drama, it makes the characters more subtle and profound. And it is not seldom that Doga's music has become an integral part of action, especially in Lotyanu films.

In the Mirror of Moments. Part 1.

In the Mirror of Moments. Part 3.

In the Mirror of Moments. Part 4.
In the Mirror of Moments. Part 5.
In the Mirror of Moments. Part 6.

In the Mirror of Moments. Part 7.
In the Mirror of Moments. Part 8.