I feel polluted by sadness - Info-Prim Neo interview with composer Eugen Doga

[- Dear Mr. Doga, the Government designated 2007 as the national Year of Eugen Doga. How was this year for you?] This year had two sides – the artistic one, with applauses and beautiful congratulations, and the bureaucratic side, with pompous slowness. Two extremes I cannot understand. Why can’t these two worlds be in tune, like in music? [- What do you refer to? Are you dissatisfied with the actions organised by the Government?] There’s nothing I can reproach the Government for. It did its work brilliantly. 2007 has been declared as the Year of Eugen Doga, which is the first time that a composer has been honoured in such a way. A nice plan of actions has been approved. It included concerts, monograph editions, CDs, DVDs, TV and radio shows, scientific symposiums, etc. [- Minister of Culture Artur Cozma said at the ceremony of launching the monograph “Eugen Doga, the composer and academician” that the Government will find a way to buy “The Dialogues of Love”, which you are working on, to put them on the stage of Theatre of Opera and Ballet.] It has not yet made an order. Probably they want to make me a pleasant surprise. Though, it was I who promised the Theatre to offer the music for this opera and I will do my best to stick to my word. [- Which of the events did you like best?] The presentation of the music for the “Luceafarul” ballet in the form of concert at the National Philharmonic on January 15, on Eminescu’s birthday. This was a good start and it was also the Philharmonic which ended the Eugen Doga Year with the new ballet “Venancia”. The anniversary concert at the National Palace was a great spectacle and I thank the Moldovan leadership for having allocated money for its organization. I would also like to thank my colleagues from Moldova and abroad that stood behind me that day and gave me and all my fans a lot of wonderful moments, all their warmth and artistic love. There have been concerts organised in other places. The Government of Russia organised in the Tchaikovsky Hall a beautiful play with a beautiful scene play, extraordinary orchestra and a good conductor. The concert was recorded by the Kultura TV channel. It would have been nice if a copy had been made for us too, to be able to play this concert on Moldovan TV channels as well, or at least to keep it in our archives. Two marvellous concerts had been organised in Kyrgyzstan, Bishkek. Some good businessmen from there had painted me on 6 on 8 meters portraits. I have one in Chisinau. I do not know where to put it. The President of that country gave me a high title “Delaker”. There was another concert in Tatarstan, a wonderful concert. I was accompanied by the best orchestra that has ever been with me. There were also concerts at the “Lomonosov” University, the Nationalities’ House from Moscow with chamber orchestras, with ensembles of violinists, vocal singers. I had also been to Switzerland, Zurich, where I gave two concerts in plastic arts halls. It is marvellous to play and conduct in such circumstances. When you see paintings of the classics and play the piano, it is of course something special, a true feast for the soul. The scientific conference at the Academy of Sciences of Moldova was very well organised just before my birthday. Many personalities that have presented real studies were present. For example, the study of Ana-Maria Plamadeala was a special one, due to its philosophic view on the problem under study – the music in movies, this mixed and intricate art. The second thing the Academy of Sciences did was the edition of the third volume of “Academica” – “Eugen Doga, the composer and academician”. The volumes from these series are usually dedicated to the activity of the Academy for a year. But that number included materials that referred only to my creation. It is an extraordinary gesture organised with love and talent by the President of the Academy Gh. Duca, M. Slapac, A.Danila and the extraordinary L. Dumbraveanu, “Stiinta” edition”, and some other talented and great people. I want to say that starting with 1991, even in the most difficult period, the Academy received me in its ranks and supported me. Thus, I have a big understanding family with which I can feel like at home. The ballet “Luceafarul” was staged at the Theatre of Opera and Ballet. I have never seen it in premiere. I watched the third play. The public was very satisfied, which makes me happy. As for me, I have still some doubts. It is a pity the play was not staged after the written music, some dances were cut, even the most important part when Luceafarul requests the Creator to make him a mortal being was cut. It made the impression that the music was written after the play, and not vice versa. The symphonic part was cut which was to the detriment of the integrity of the music and its initial feature was lost. I will wait for some more 24 years and maybe “Luceafarul” will be staged once again. [- What are you working on now? The Dialogues of Love, isn’t it?] The work on “The Dialogues” doesn’t go very smoothly. First, I am always busy with other things. Sincerely speaking, I am forced to write different music that I should not write, for example, for soaps. There are many reasons why: a composer must always write, not to forget his job, and then, the material aspect is also important. A person of art also needs money for him and his family to exist. And one more moment that refers to libretto, which has a lot of characters and mass scenes, which distracts me from my main heroes, Veronica Micle and Mihai Eminescu. I also have other items on which I am working or that I have recently finished. [- Are you speaking of “The Gypsy Camp” for the Romanian soap opera “A Gypsy’s Heart”?] Yes, working on this play gave me a great pleasure, because after “Maria Mirabela” this is my first comeback to “Buftea” studio in Bucharest. [- They say you don’t get your royalties here in Moldova. Is it the same in Romania and Russia?] Well, the Association for Authors’ Rights from Moldova started working on this very seriously, thanks to the insistence of Anatol Chiriac. And still, there are many cheaters around. For example, the waltz from the film “A Hunting Drama” (“Drama la vanatoare”) is always played on weddings in register offices, restaurants, culture homes. I signed contracts only with Slovakia and Finland. The situation with Romania is difficult, as neither Timisoara, nor Constanta paid me for the musical “The Gypsy Camp” that is played in their theatres. I repeat, I signed contracts only with Slovakia and Finland. Germans do not respect authors’ rights either. Russia does something in this respect. [- Have you recently written music for films?] My last work which gave me a real pleasure was in 2007, when I wrote music for the film “Actress”. This is a comedy with Stanislav Govoruhin, who, in my opinion, is the person number one in the Russian culture, not only as an actor, but also as a political person. He is a real intellectual. This is my second collaboration with Govoruhin, the first one was for the film “Bless the Woman” (“Благословите женщину”). Also in 2007 I worked for a serial for the “Chance” studio from Kiev. I have been collaborating with it for many years. Now I am writing music for a film with the plot built on the history of Russia in the years 1916-1925. I have never written such a thing, that is why I will work on it with a real interest. [- What are your plans for 2008?] I have a lot of concerts to give. I have invitations in the Baltic Countries where I have never been. Of course, I want to keep my promise and finish “The Dialogues of Love”. Closer to spring I will “hide” somewhere far away and I would like to work with all my being on this mystery of love, lived by two heroes, He and She.... I want to sing this love. It is a myth, of course. The art, in general, is a myth, and illusion, a fantasy, a mystery. This mystery is lived by everyone, the simple beings, too. I made a promise to present at yearend, on December 25, the ballet “Queen Margo”. First it was “Luceafarul”, then “Venancia”, in 2008 it will be „Queen Margo” and, with God’s help, we will have the occasion to make a tradition of new premieres. Maybe, we will live to the Giusepe Verdi tradition, who used to stage every year a new opera (in the 19th century!) and not like us (in the 21st century) once in 24 years! Of course, I would like to see “Venancia” on stage, not necessarily on the stage of the Theatre of Opera and Ballet. Maybe on the National Palace stage. I would appreciate if a musical would be organised and a choreograph from, maybe, Latin America, would be invited, as we speak of a crazy temperament and scenes, characteristic to these countries from the new land. I used to think „Luceafărul” the climax of my creation, but it turned out that I liked this „Venancia” even more. I think time is to blame. I was afraid to present it. Trully speaking, this fear not to disapoint the audience is pursuing me all the time. Maybe the construction of the Musical Hall will come to an end. Thank God, the Government found a good person, a businessman, who bought the special piano for the Hall, a very good piano, that I wanted for a long time. In this hall, which is being built also by a good person, I hope to gather all my archives, as they are all spread all over the Former USSR and I have to gather them, to have the possibility to look after them, to systematize them and to bring them into the condition that will let us use them. Maybe, sometime music will be edited here in Moldova, as the majority of it is published in Russia. But which is the fate of that music written for our poor Moldovans, which sings our old culture, in our sweetest language? [- Is it true it is more difficult for you to write in Moldova?] In general, creation is a difficult work. I use to write everywhere. But with pleasure. The last time I wrote here was ten years ago, when I wrote „Procust’s Bed” for the film made by Sergiu Prodan. And not because it is easier or more difficult to write here. In Moldova they use to regard music as an entertainment, or as a second hand thing, that does not deserve to be taken seriously. They may not pay or to pay symbolically. I do not remember to have been proposed to sign a contract with the Ministry of Culture or with Teleradio-Moldova. The last thing purchased from me, not at the order of the Ministry, was the ballet “Luceafarul” in 1983 and for which I received the USSR State Award. The 4th quartet was bought for a symbolic price 10 years after its writing. Artistic groups almost do not have in their repertoire my music. And not only mine. The entire electronic informative space is polluted by jolly “tralala” of foreign origin that distract us from ourselves, from the beautiful and unique songs inspired by spring whispers or by the secrets of the old woods. Then, do we have so many reasons for this crazy merrymaking? Do the dozens of Moldovans that left their country in search of fortune want to hear such songs? But, I do not know why, there is great demand for short and jolly music. The so called stereotypes! [- Have you visited more often Moldova in 2007?] Yes. Although I do not consider myself gone from the country. I move like every living thing is moving. Like, for example, a river. [- Does this mean that you also visited your native village Mocra, in Transnistria?] No. This river that is called Nistru has stopped for us and has been transformed into a wall. I wasn’t there and I do not know when I will go there, as this humiliation oppresses me more and more – to cross with the bowed head this river, poor Nistru, and to pay tolls to thieves. They ask documents for a check, from me, who used to walk barefoot when I was little… they came from nowhere, these thieves of Cossacks, and they want to make me pay… My poor mother … Usually, I go only to my mother’s grave. I do not descend to the village, as it is a foreign village for me, from which they have taken with force the language, love and respect. I am afraid to hear a word that will destroy me, humiliate me, that is why I avoid these situations, I do not challenge them and I do not go there. It is good my parents’ house is still there, as I sold it in time to some good persons that take care of it. The rest, half of the village is abandoned, the houses are ruined, while the cemetery is full of dead people. Old persons are dying, while the youth has left the village. This is my everlasting pain. And when somebody asks me where this sadness comes from, even in my love songs, I say it is in my blood. I feel polluted by sadness. [- Master, the winter holidays are in full swing. How do you usually celebrate these saint holidays and the passing of the year?] In general, I prefer not to celebrate. The fete for me is an ordeal, as it means I do nothing. I am not a food amateur, even less a beverage one. But I do my best to be at home with the entire family, with my grandson Dominic, with my wife and daughter. I have a plugusor with basil and red wool thread, like in Mocra, my native village, that was once. This year I will also be home. Dominic has learned some carols in the Romanian and English languages. We also have a Christmas tree decorated also by Dominic. [ - How do you celebrate Christmas, according to the old or new style. We had the pleasure to see you at the inauguration of the Christmas tree in front of the City Hall on December 24.] I do what everybody does. Everybody celebrates according to a calendar. I do not understand „old syle”, „new style”. I know what is natural. How can first be the baptism and then God’s birth? Public opinion is deceived. They say the Catholic Christmas is on December 25 and the Orthodox Christmas on January 7. But are Romanians, Bulgarians, or Serbians Catholics? When I am in Russia I drink champagne on January 7 and 14, but in Moldova things are different. And they stick to these old things … We are held in a church space totally foreign for us. In difficult moments of our history the situation of our parochial values we had before 1812 has been changed, we have lost our inland church architecture, language, historical names. I could not even baptize my daughter Viorica, and my grandson Dominic the way I wanted to, as I was told there are no such names in the church. And still, I believe every person has the right to celebrate the way they want. But! Why not celebrate like in Europe, if we want to be Europeans? I was invited to the City Hall Christmas Tree and I came. I tried to play something in the cold. It was not the song that meant, but the gesture. I was glad of the people that came. I was even surprised. This is the feast. The feast is of the soul, not of the calendar. I go at good people’s invitations, whoever they are and whenever they invite me, on December 25 or 31. [- What are your wishes for our readers on occasion of the winter holidays?] To sit together at the table. People are better when they gather at the table. Only at a friendly table, at a table round like a hora you can have a healthy peace of mind everybody of us is dreaming of. Negative energies are gone, as people come with open hearts, smiles and presents. Figuratively speaking, let us start gathering at this table, at this home Moldova, from all the corners of the world. And we should know, no matter how cold winter is, no matter how long, spring will come. The world does not understand that no matter how good somewhere may be, we want to go home, not because it is better, but because this is our home. And I have all the right to say in my country, for us, with us… Happy New Year!