Eugen Doga

Eugen Doga (Евгений Дмитриевич Дога, translit. Yevgeniy Doga) (born March 1, 1937) is a Moldovan/Romanian composer. After the fall of the Soviet Union he lives in Moscow, Russia.
Eugen Doga was born on March 1, 1937 in the village Mocra, Ribnita, to Dumitru and Lisaveta Doga a family of peasants. Since childhood the future master was fond of the musical art tradition of performing musicians. In E. Doga’s native village (Mocra) lived at the time Fedot Murga - one of the famous fiddler-musicians family. “I have a lot of memories from my childhood’s years, I still remember the sugar candies without paper wrap... There were also expensive ones. I watched with envy at the boys who were opening very slowly, the real candy wrapped in glossy paper, which was very beautiful. It makes my mouth water even today recalling all this... Once I had the chance to open my wrapped candy very demonstrative, in order that everyone would have seen it, I still can feel its flavor... I can remember the candy wrapper and even that it was a square candy. I was a war child, that hadn’t had a swing, but I was still lucky to have a proper upbringing...
When I was a child my mother said that after the sunset, the tired sun goes to rest. But I don’t want to go beyond the horizon ... Like the sunflower, I straighten my gaze toward the horizon where the sun will rise again, bringing a new day, the day’s warmth, new hopes and a new music...
The fate once brought me, a barefoot child towards a great instrument, which seemed to be more than a stove- heated bed. It was painted black, glistening mysteriously – it was a grand piano. I was fascinated. I approached very shy and I didn’t understood how it happened that, from all keys that were fumbling touched by my feverishly fingers, I pressed by accident three white keyboards, which have filled like a fluid my soul and imagination for the rest of my life. I caressed for decades the keyboards, I bewitched the sounds, being tempted to connect to the whole universe organ, but I felt attracted more and more to the accord that sounded totally accidental, the mystery of which I have not unveiled and maybe I will never do...
Once, I don’t know by what miracle, a real orchestra arrived to our village. It was a real, symphonic orchestra. The club from my village, frankly it wasn’t a real club; it was only the name of it! –It even didn’t have a proper stage, it couldn’t fit them all, and that is why a lot of instrumentalists, including some giant violins, were playing off the stage. A fantastic and lasting music was flowing, while a person was "threatening" the orchestra with a wand. It was very curious for me that no one was dancing, when there was so much music performed! The naughty kids were getting closer and were stealthily touching the giant violins that were from another world ... Only later I realized that the giant violins were actually contrabasses.
I love freedom, no border spaces, height. As a child, I climbed the highest acacia to the top branches, so that my head would be above the highest top ... this height longing had followed my always. For me the sun was always a bright, burning uphill. My eyes and my hopes were always turned to the highest point in the sky, toward the zenith, but I haven’t seen this apogee ... If I would have to ask God for anything, then I would ask him to bring my childhood back.
I want that the people would realize that they are adults as late as possible, or they should know that the feeling of childhood is a benefic source for the state of mind; it is that life-giving energy, which helps you create and share joy around you.
The perceptual experience gained in childhood and early life, marked by the effervescence of the popular song, the living image of fiddlers Pofirie and Fedot Murga, descendants of the famous violinist dynasty of Gheorghe Murga, the picturesque charm of the fanfare and the musical band (taraf) of the village Mocra, Ribnita, will be the defining elements in the formation of his esthetic conceptions. They will gradually shape a genuine artistic credo.
Over a long time panorama and a spring chromatic, made of raw grass green, of a swath black and apple blossom white there is the gentle voice of the artist Eugen Doga, who said he had a difficult, but a beautiful childhood! And if he could only ask God for something, he would ask to turn him the childhood. He doesn’t need the age of a child, but the state of being child, to able, to discover the world again and again, to be surprised every time, never get the feeling that he has got enough from this life: "All think that, now is the moment when I write music, but they are wrong, all the music was composed in my childhood". In the same countryside landscape Eugen Doga is recalling his father bringing him to his first day of school by riding a black horse. The artist with sadness stir up that memory when his mother  sold the carpet from the main room to give an opportunity for Eugen Doga to continue his studies.
1943 - 1951 - Primary school from Mocra village.
1951 - 1955 – Music Secondary school (Lyceum) from Chisinau, cello class of professor Pablo Giovanni Baccini.
1955 - 1960 - Chisinau State Conservatoire, cello class of Professor Gregory Hohlov.
1960 - 1965 - Institute of Arts from Chisinau, class of composition and music theory, Professor Solomon Lobel. Symphonic conducting courses.
During his years of studying, Eugen Doga met Porfirie Murga. While being a student at the “Gabriel Musicescu” Conservatory (today - Academy of Music, Theatre and Fine Arts) E. Doga took part at some folklore expeditions and recorded on magnetic tape a lot of songs performed on violin by Porfirie Murga. E. Doga processed more than 24 songs taken from the repertoire of this fiddler musician. E. Doga made his first steps towards mastering the laws of professional music at Music College of "Stefan Neaga" from Chisinau. Doga's teacher for the main instrument is Paul Bacinin. The cellist Paul Bacinin graduated the Kiev Conservatory, and had performed in many orchestras from Ukraine, became later conductor and professor, and has fully manifested himself in the symphony orchestras of Tiraspol (Radio Orchestra) and Chisinau (Radio Philharmonic Orchestra).
Bacinin's attitude towards the profession, towards the artistic destiny was a really romantic one. E. Doga witnesses: "He lived in such a way that we, his students couldn’t live otherwise…” "What a phrase, what a phrase" he was saying during the performance and closing his eyes just for pleasure, and thus expressing his delight towards (particular - V.A) an unearthly place of study. Through his absolute, selfless love for music he made me love her with the same passion. A romantic maximum regarding the awareness of an artist's life is typical also for Eugen Doga: "As though I don’t live, I am unhappy, if I don’t work fruitfully, says the composer. I am surprised by the thought that I am ashamed to look at people when I go down the street: why do I live? Do I deserve the life? I hide, become grumpy, in one word I am unhappy. But if I was inspired, I get out into the street, trying to catch someone’s sight and I am happy to discuss with anybody ... I feel than for the sun it is too narrow between the walls as it is narrow for a heart to be closed in a chest..."
Thanks to P. Bacinin, E. Doga has not only mastered the performing art, but later has had the opportunity to work with the musical collectives of National Radio.
The master has made his first step in choral composition already in the early stage of study, while learning in the composition class of S. Lobel.
After graduation the class of composition, Eugen Doga continues his professional improvement by following the outlined plan by his teacher S. Lobel and creates after the first attempt to write film music, a series of 9 a capella choirs compositions.
First of all he studied cello (1951-1955). Cello was a difficult instrument to perform, because of an ungifted teacher, until he came to a class of a great musician, Pablo Baccini - italian, who later became Pavel Ivanovich Bacinin. He taught E. Doga to work, although for a boy that came from country, the work wasn’t something new he should get to use to. He led his pupils in the music world with ease and enthusiasm. He made him fall in love with the music in their future profession. During this time, Eugen wrote his first waltz in the end on the music sheet. He showed that to his friends, and they laughed at him, because that waltz was written in two quarters instead of three. After that has followed a long period of silence. He graduated the college with the Cello concert of C. Saint-Saens.
At the conservative he was secretly composing something in the notebook. And one day at a repetition of Moldavian Radio Orchestra, where he was combining the work between the studies (1957-1962), came his colleague Maria and offered a popular song for the next day’s concert. Orchestra conductor, P.I. Bacinin, said it would be good for her to performed one more song. Maria sadly admitted that she has only one popular song. Eugen said that he has a song, although this was only the desire to have a song. The conductor was not surprised; he leisurely agreed to introduce it into the program. Quickly finding the lyrics, E. Doga wrote a song until morning, and wrote also the orchestra scores. This was the first appearance from the "underground" and the first performance in the future famous singer Maria Biesu. Later it was already difficult to determine to what the composer pays more attention to the cello or composition. The scores were particularly interesting for him.
He orchestrated the works of Haciaturian, Shostakovich, Chopin, Grieg, also the venerable and semi-professionals composers from Moldova – the young composer had had a good deal of orchestrate and compositions arrange work. This was an excellent composition school for orchestra together with the theoretical study of a new musical creativity field.
During his studies at the conservatory, he played cello’s main repertoire, and completed the studies by performing "Rococo style variations" by P. Chaikovsky. But the pain that persists for a long time the in left hand, eventually paralyzed him. After partial recovery, it became clear that he will not be able to perform and that he will have to take seriously and professionally the work of composition. There have followed another five years at the conservatory, but already in the class of– M. S. Lobel at his main matter and M.Kopîtman - for polyphony. They were brilliant masters that were different in style and dedication, but just as profound and worthy.
Doga make his first appearance in local music with a strings quartet (1963). Throughout the years at the beautiful age of 65, the master confesses: "I don’t like the course of time. I'd turn it backwards to youth. Youth is wonderful. For it does not have insurmountable obstacles. Youth is not conscious about the time, the tiredness feeling, the quiet... At that time, or even by the first breath, I was discovering the world, the moon and sun, forests and rivulets with chirping birds and flocks of sheep, with beautiful stories from grandparents... Let's better climb above the sky, towards the stars and infinities. There youth is eternal. There is the place where the dreams take us, music does, or maybe contrary."
He began his career, already from his students years, as a cellist in the State Committee of the R.S.S.M. (Moldavian Soviet Socialist Republic) Orchestra for TV and Radio-broadcasting (1957-1962). He then taught as a professor at the Music School "Stefan Neaga" from Chisinau (1962-1967) and was a member of the Editorial Board of the Ministry of Culture from R.S.S.M. (1967-1972). 
The field where he is standing in force and that brought him the international reputation: is the art of composition. He makes his first appearance in 1963 with a string quartet that will give him the opportunity to impose himself towards the conquest of professional altitude through vocation and availability. He is the author of valuable works of entertainment, film and stage music. Apart from his concern towards the cinema, he is the author of several original compositions (songs that became hits, chamber works and ballet compositions).
Eugen Doga writes also film music, becoming one of the most famous composers of movie and TV films in the post-Soviet space. He started in Moldova-film studio in 1967, writing the music for the comedy “We need a gatekeeper”. He wrote music to more than 200 films.
The diverse spectrum of genres approached by the composer; shows his interest towards various ways of sound expression for various stylistic and thematic areas. His music is, in all stages, exciting, vibrant and honest, it captures the listener with the melodic generosity and the emotional authenticity that it communicates.
In the political field, Eugen Doga was a member of the CPSU (Communist Party of Soviet Union) in 1976. He was elected popular deputy to the Supreme Soviet of the R.S.S.M. in IX - XI legislatures, then as deputy in the first Parliament of the Republic of Moldova. He also was a member of the Composers Board of the U.S.S.R. (Union of Soviet Socialist Republics) and Union Composers of Moldova, vice president of UCM.

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