Doina, Bocet, Wehmut, Schatten, Rauch... Ein paar Gedanken mit Bezug auf Doina Rotarus Ästhetik
Doina, Bocet, Longing, Shadows, Smoke... A Few Thoughts with Reference to Doina Rotaru’s Aesthetics

Summary/Abstract: Besides a series of symphonies and concertos, Doina Rotaru has written countless pieces for chamber ensembles, flutes or other solo instruments. Yet she seems to rank among those few composers who – as Stravinsky said in reference to Vivaldi, obviously seeing him from the perspective of his own extreme stylistic mobility – “write a single composition”. Indeed, their works do not seem to deviate far from a certain line that has been drawn with unusual clarity and certainty since they began their creative work a few decades ago. But this “single composition” is, of course, only a kind of metaphor that metaphorically “misunderstands” a particular stylistic and conceptual unity, but in no way excludes a wide range of compositional procedures and related expressive hypostases. Between them, a particular direction seems to be constantly at the centre of the composer’s attention, a direction that could be called a music of doina, of bocet, of longing, of shadows, of smoke; it is a particular musical world that finds an aesthetic of the ineffable, of discretion, of subtle nuances, of nostalgia, a world with deep resonances in Romanian culture and the Far East.

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