My tambur

  

Nur Muhämmät Tursun
Tämbürum

  

Tracks:

1. Tämbürum

2. Tämbürum

 3. Tämbürum

 4. Tämbürum

5. Tämbürum

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Nur Muhemmet Tursun
(10/01/1957 - 12/19/2004)

   

 

  
Mr. Tursun is a famous Uyghur folk music player. He is famous for his mastering the Uyghur music instrument "Tembur"

His music CDs has entertained thousand Uyghur households and enriched their lives. Mr. Tursun will honored by his great contribution to Modern folk music.

~*~

Biography of Nur Muhämmät Tursun

by Rachel Harris



Nur Muhämmät Tursun was born and raised in Ghulja in a musician family, one of eleven children, several others of whom have also become professional musicians. He was one of the Uyghur region’s most prominent instrumentalists until his untimely death in 2004. His father worked for the Military Ensemble and later for the Ghulja Theatre. Recognising his son’s talent he trained Nur on the satar, an unusual choice of instrument in Ghulja. According to Nur’s sister, Sanubar Tursun, their father once had an argument with a certain famous Ghulja musician who questioned their father’s musical skill. He was bitter, and once when drinking swore that his son would be a greater musician than he who had insulted him. When their father died in 1979 Nur felt an obligation to fulfil his wish. He practised tämbür sixteen hours a day, saying his father wanted him to be a famous tämbür player.

Nur Muhämmät joined the Xinjiang song-and-dance troupe and did indeed come to be widely regarded as the finest tämbür player in the Uyghur region, with extraordinary virtuoso technique and a large repertoire of folk and classical pieces. He was also one of the very few musicians to play the satar seriously, and on this instrument he also excelled. He knew much of the Ili Muqam repertoire, and pioneered the solo instrumental performance of sections of the Muqam. He was also known for his innovative style of playing and his explorations of new repertoires. He released a series of cassettes, CDs and VCDs, including solo instrumental recordings and group recordings with his sister, the much-loved singer Sanubar Tursun.

A late CD released in 2003, ‘Kün wä Tün’ (Day and Night), is a fine example of his fusion experiments. It juxtaposes tämbür and satar renditions of popular Spanish tunes and Hindi film tunes, and includes a radical reinterpretation of a piece at the heart of the classical Uyghur repertoire, ‘Äjäm’, with synthesiser accompaniment. Nur Muhämmät was also well known for introducing new playing techniques on the tämbür, notably an idiosyncratic strumming of all three courses of stopped strings simultaneously to produce tuned chords, a technique which he claimed to have borrowed from popular flamenco guitar. He was probably the first Uyghur musician to be interested in flamenco, and contributed to its widespread popularity in the Uyghur region in the 1990s. Some of his more traditional-style releases have also been very popular, notably Tämbürum (My tämbür).

Nur was expelled from the Xinjiang song-and-dance troupe in 2002 following his involvement in a New Year concert where an audience member stood up and recited a poem referring to the coming of Spring. This was labelled a ‘separatist incident’. Following this Nur was also refused permission to travel abroad, and was thus unable to achieve his ambition of gaining recognition on the world stage. However he leaves behind a lasting legacy through his recordings and his pupils, and his innovative and virtuosic style is now widely imitated across the Uyghur region as well as by Uyghurs in Central Asia.

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   Sanubar Tursun, her older brother Nur Muhemmet, and younger twin brothers Hesenjan and Husanjan, were born into a large family in the northern town of Ghulja (in Chinese: Yining) in the Ili valley. Sanubar and Nur Muhemmet released a series of VCDs (cheap digital video technology) in the 1990s featuring the Ili repertoire performed in new ways. The artistry of Sanubar’s vocals and the extraordinary virtuosity of Nur Muhemmet’s instrumental playing propelled them to instant recognition.

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The term Tanbur, Tanbūr, Tanbura, Tambur, Tambura or Tanboor (Persian: تنبور‎) can refer to various long-necked, string instrument originating in the Southern or Central Asia (Mesopotamia and Persia/Iran).^[1] According to the New Grove Dictionary of Music and Musicians, "terminology presents a complicated situation. Nowadays the term tanbur (or tambur) is applied to a variety of distinct and related long-necked string instruments used in art and folk traditions in Afghanistan, Pakistan, Turkey, Tajikestan, Kazakhstan, Uzbekistan.

 The Uyghur tembor is played in West China (Uyghurs). Its neck is very long and has five friction pegs. It has five metal strings that are in fact three courses, both first (fingered) and 3th are double.

wiki

Lost in the muqam follows Mahmut Mehmet, a Uyghur musician living in China's Xinjiang province. The Uyghurs are a Muslim ethnic minority losing many traditions under Chinese rule, even music is beginning to suffer. Mahmut began playing the tambur when he was eleven years old and studied with the late virtuoso Nurmahemmet Tursun, but despite his immense talent he is now struggling to find an audience. He makes a living performing at dinner parties and teaching young students but can his music survive in the ever changing and hostile environment of modern China? 

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Kazakhstan 9

   

Daulet Myktybayev & Zhappas Kalambayev

Kobyz
Asyl Mura - 2005
 
Tracks:
 
Daulet Myktybayev
 
1. Ykylas “Korkyt”
2. Ykylas “Airaukty Naschi Kyi”
3. Ykylas “Shynyrau”
4. Sarbiyev “Sary Arka” (Golden Steppe)
5. Ykylas “Еrden”
6. Ykylas “Zhalgyz Ayak”
7. Ykylas “Zholaushynyn Konyr Kyi”
8. Ykylas “Zholaushynyn Konyr Kyi”
9. Ykylas “Kazan”
10. Ykylas “Kertolgau”
11. Ykylas “Kambar Batyr”
12. Folk kyi “Akku” (White Swan)
 
Zhappas Kalambayev
 
13. Korkyt “Konyr”
14. Ykylas “Munlyk-Zarlyk”
15. Ykylas “Khanshaim”
16. Folk song “Kanattaldy”
17. Folk song “Shynar-ai”
18. Folk song “Gaini”
19. Okili Ybrai “Gakku”
20. Аbai “Kozimnin Karasy”
21. Sadyk Karimbayev “Koktem” (Spring)
22. Folk song “Karatorgai” (Sparrow)
23. Zhayau Musa “Kokarshyn” (Dove)
24. Folk song “Saulemai” 2nd version
25. Тattimbet “Sylkyldak”
26. Folk kyi “Kaskyr” (Wolf)
27. Ykylas “Zhez Kiik”

   

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Zhappas Kalambayev and Daulet Myktybayev
  
The origin of kobyz is connected with the name of the legendary Коrkyt – the first musician and patron of shamans. Legend has it that when Korkyt was 20 years old, he saw a dream in which some people said to him that he will live only 40 years. So, Korkyt decided to seek immortality. He saddled his camel Zhelmaya up and went on a journey. Wherever Korkyt went, he met the people in white attires digging a grave for him. Then Korkyt returned to the “center of land” – the Syr-Dariya river. Here, he sacrificed his camel and made an instrument in which the skin of Zhelmaya served as the upper deck. Then he laid a carpet on the surface of water and, sitting on it, played a “song of life” on kobyz. As Korkyt was playing, the death did not dare approach him. But once, completely exhausted, Korkyt fell asleep for a moment, and the death in the image of snake overtook him: Kairak-zhylan bit Korkyt, and he died. The legend has reached us with the kui “Korkyt”, glorifying the great power of music capable to defeat death.
  
Kobyz is the instrument of surprising form and unusually expressive rich timbre. One people compare it with a bird: “The sounds of it, when touching its strings made of horse's hair with the bows also made of horse's hair, are similar to the swan's shout, as well as the instrument itself has the form of a swan” (P. Pallas). The others heard a human voice in the sounds of kobyz (B. Sarybayev), “sad and sorrowful” (I. Gmelin). Each of 2 strings and a bow consist of 40 long horse's hair. The height of sound is regulated by a touch of the tips of nails or fingers “by the weight” above the body of the instrument (the play of frazholets). From here is the originality of sounding rich with overtones.
  
This instrument's lot has been a hard one. Kobyz can be named as an original carrier of ethnic history of the Kazakhs presented by the epic literature and instrumental music. However, this did not protect it from persecutions. Initially, kobyz was the instrument of shamans (baksy), and it was this circumstance that became a convenient reason for withdrawing it from the new built civilized world “as a vestige of the dark past”, and thus “condemning it to disappearance” ( А . Zatayevich). As a consequence, with the beginning of the 20 th century, new kyis (instrumental music) were not been composed for this musical instrument. Also, the family traditions of playing kobyz “from father to son” began to abandon. The last legendary classic of kobyz music was Yklas Dukenov, who was born in the mid-19 th century. There were many attempts to recreate the forgotten culture, but only few managed to break “through time”. Among such musicians were Zhappas Kalambayev (1909-1970) and Daulet Myktybayev (1904-1976). We are obliged to them for preserving the traditions of playing this instrument and musical kobyz heritage. Due to these musicians the invaluable creations of the past were recorded. They were the first to enter the concert stage and the first to become the teachers of the kyl-kobyz class opened at the Almaty Conservatoire in 1968.
  
Zhappas Kalambayev was born in 1909 in the Talap collective farm, Suzak region of Shymkent oblast. From childhood he mastered the art of playing kobyz independently. He learned Yklas' kyis from Yklas' pupil – the dombra player Sugur. It was Zhappas Kalambayev who returned the works of the classic of kobyz music, Yklas, from dombra versions to kyl-kobyz. Zh. Kalambayev was the participant of the 1 st Republican Meeting of Fork Performers held in 1934. He was at source of the creation of the Kurmangazy Orchestra of Folk Musical Instruments, and was the soloist and concertmaster of the alto-kobyz group (1934-1967). In the words of А . Zhubanov, “ the kobyz players performing now at the Kurmangazy Orchestra (1950s-1960s), took the first lessons from Zh. Kalambayev”. Among his pupils are the People's Artists of the Kazakh SSR G. Bayazitova and F. Balgayeva, and the candidate of sciences in art, professor B. Sarybayev. With the opening of the kyl-kobyz class, Zh. Kalambayev taught this instrument at the Almaty Conservatoire (1968-1970), combining teaching with active concert activity. He is known as a collector of musical folklore, who recorded and deciphered the unique pieces of folk music. He was the author of his own compositions – kyis and romances – and was among the first members, who entered the structure of the Union of Composers of Kazakhstan (1939). The Kazakhstan government has highly appraised Zhappas Kalambayev's work by awarding him the honorable title “The Honored Art Figure of the Kazakh SSR” (1944). He was also awarded the “Order of the Red Banner” and medals.
   
Daulet Myktybayev was the descendant of the legendary Yklas. He was born in 1904 in the Korgaldzhy region of Tselinograd oblast. He inherited the art of playing kyl-kobyz from Yklas's pupil, Abiken Tokhtamysyly, while the best kyis for kobyz – from his uncle Tusupbek, the son of Yklas. D. Myktybayev started his creative activity at the Karaganda Regional Radio Committee (1933). His first serious public performance was held at the 1 st Republican Meeting of Folk Performers in 1934. In Karaganda , D. Myktybayev began his concert activity as a soloist of the Regional Philarmonic Society (1937). However, this work was interrupted by the Great Patriotic War, at the front of which he served all its years (1941-1945). Upon returning from the front, D. Myktybayev connected his life with Alma-Ata , where he worked as a soloist-kobyz player at the Zhambyl Kazakh State Philarmonic Society and Ка zakhconcert (1945-1965). Like Zh. Kalambayev, he led the kyl-kobyz class at the Almaty Conservatoire (1970-1976). Among his pupils are many remarkable followers continuing Yklas' traditions: the Honored Art Figure of the Kazakh SSR К . Azhmuratov; head of the kobyz and bayan faculty of the Conservatoire, professor B. Kosbasarov; and the teacher of the K. Baiseitova Musical School А . Zhumabekov. D. Myktybayev has his own compositions for kobyz – kyis and transpositions of folk music.
   
The main difficulty the performers are facing today is a lack of repertoir. On the thorny path to kobyz survival there were serious losses. We know about some kyis due to the legends accompanying the performance of kyis, because the tradition assumed the retelling of the plot ether prior to the performance of kyis, “kyi and legend”, or inserting in kyi – “kyi with legend”, “kui in legend”, or “kyi-legend” ( А . Mukhambetova). Filling up a repertoire was also the merit of Zhappas Kalambayev and Daulet Myktybayev. They were the first who began to transpose the Kazakh folk songs and dombra music to kobyz, thus considerably enriching the repertoire of performers.
  
Unfortunately, the available fund lacks recordings in the performance of the outstanding kobyz players, Zhappas Kalambayev and Daulet Myktybayev. Some of these recordings are of poor quality, but nevertheless the present CD covers the most significant genres of kyl-kobyz music. This is a traditional genre of kyi represented by the compositions of the primogenitor of kobyz music, Korkyt, “K о nyr” (13), folk kyis “Akky” and “Kaskyr” (12, 26), and kyis of the outstanding Yklas (1, 2, 3, 5, 6, 7, 8, 9, 10,11, 14, 15, 27), as well as by the “secondary” genres-transpositions of Kazakh instrumental and song cultures represented by the “Sylgyldak” dombra kyi by Tattimbet (25), songs by Ibrai (19), Zhayau Musa (23), А bai (20), S. Karimbayev (21), Sarbiyev (4), and folk pieces (16, 17, 18, 22, 24).
  
We would like to thank Sayan Akmolda for the information and advices in the compilation of this CD.
 
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Horses 5

      

"One shaman who had no horse put his kobyz to participate in a horse race. During shamanic rites, it was the kobyz and dangyra-tambourine that turned into fast horses on which the shaman backed to whatever place of the Higher, Middle and Lower Worlds inhabited by people and spirits, both good and evil. Knowing the super natural power of his kobyz the shaman tied it to a big tree in order to give the ordinary horses an upper hand in the start. The people who gathered at the finish watched in amazement as the kobyz lead the race dragging the uprooted tree behind it in a cloud of dust."

   

  

 

Kazakhstan 8

   

The Instrumental Tradition Shertpe

Тulegen Mombekov, Маgauya Khamzin, Abiken Khasenov
 
ШЕРТПЕ КЙДІ Ш ОЫРЫ
Тлеген Момбеков, Маауия Хамзин, бікен Хасенов
Asyl Mura
 
Tracks:
 
Tulegen Mombekov
  
1. Каra Zhorga Bapysh
2. Каrkarau Bapysh
3. Аsu T. Mombekov
4. Еl Zhana T. Mombekov
5. Каt Kabat T. Mombekov
6. Sary Аrka Sapary T. Mombekov
7. Bes Zhorga (1) Sugur
8. Теl Konyr Sugur
9. Shalkyma Sugur
 
Mаgauya Khamzin
 
10. Коnyr Kaz Аshimtai
11. Dairabai Dairabai
12. Bes Tore Tattimbet
13. Bylkyldak Tattimbet
14. Коsbasar (1st version) Tattimbet
15. Коsbasar (2nd version) Tattimbet
16. Kokeikesti Tattimbet
17. Sary Zhailau Tattimbet
18. Zhailau M. Khamzin
 
Abiken Khasenov
 
19. Balbraun Folk Kyui
20. Lyailim Zhayau Musa
21. Аzamat Kozha Tattimbet
22. Bes Tore Tattimbet
23. Коsbasar (1st version) Tattimbet
24. Коsbasar (2nd version) Tattimbet
25. Коsbasar (2nd version) Tattimbet
26. Sary Zhailau Tattimbet
27. Sylkyldak Tattimbet
28. Коnyr

   

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The disc represents the wonderful pieces of Kazakh instrumental musical tradition shertpe in the performance of such outstanding folk musicians as Тulegen Mombekov (1922-1996), Маgauya Khamzin (1927-2000) and Аbiken Khasenov (1897-1958).
  
The instrumental tradition shertpe is the ancient musical tradition widely spread throughout the territory of the Republic (except for the west of Kazakhstan, where the tradition tokpe prevails). The people name as shertpe several various archaic and highly developed original styles of dombra music. Кyuis-shertpe mainly are lyrical. Often, philosophical or contemplative beginnings are shown in them. A widely known and authoritative tradition is arka (Sary-Arka, Central Kazakhstan) in the center of which is the art of the ingenious Tattimbet (1815-1862). In the twentieth century the successors of this school were such remarkable musicians as Аbiken Khasenov and Маgauya Khamzin.
  
The shertpe tradition of Karatau (the south of Kazakhstan) is of later origin. It was influenced by the school of Arka shertpe with which it borders. Besides, it is felt the influence of kobyz music in this tradition and some features of another dombra style - tokpe. In the tradition of Karatau shertpe almost the mythical figure of the great musician Sugur (1882-1961) towers over the others. One of the famous followers of Sugur is Tulegen Mombekov, the musician who made much for popularization of Sugur's creative art.

   

   

Tulegen Mombekov was born in the Suzak region of Shymkent oblast, in the state farm "Syzgan". His granduncle Bapysh was a well-known musician. Tulegen's grandfather, Nazar, was the zhyrau-storyteller, his father Mombek also played dombra. Though the founder of tradition of Karatau shertpe is considered Sugur, there were also other fine musicians. Among them was Tulegen Mombekov, the author of over forty wonderful kyuis. Many times he was invited to the capital to perform at the concerts, record kyuis and to participate in TV and radio broadcastings. Тulegen Mombekov is the veteran of the Great Patriotic War. In 1971, he was awarded the title of the Honored Art Figure of the Kazakh SSR.

  

  

Mаgauya Khamzin was born in the Aktogai region of Dzhezkazgan oblast. His father Khamza and grandfather Ashimtai were famous musicians. Маgauya started to act as a performer of kyuis-shertpe when he was ten years old. In the course of time he has developed his own original performing manner in which virtuosity prevailed. As compared with A. Khasenov and T. Mombekov, to play dombra was his main profession. For a long time Magauya Khamzin was a soloist of Kazakhconcert. He started to work as a dombra player at the Karaganda Philarmonic Society. Then he performed in the Orchestra of Folk Musical Instruments named after Kurmangazy and at the Palace of Culture of Metallurgists in Balkhash. Маgauya Khamzin showed himself also as the author of several interesting kyuis. In 1998, during the jubilee events devoted to the 175th anniversary of Kurmangazy, Маgauya Khamzin, together with the dombra player of tokpe tradition Rysbai Gabdiyev, was awarded a honorable prize "For the outstanding contribution to traditional musical art" at the International Festival of Traditional Music of Turkic Nations "Kurmangazy and the Music of Great Steppe".

  

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Abiken Khasenov was born in the Shet region of Karaganda oblast. He grew up in the traditional musical environment where many considered as experts at kyuis. The first teacher of the musician became his own uncle Makash, the elder brother of his father. Such names of dombra players as Baubek, Kyzdarbek, Abdi, Аkmolda and Itayak were well-known and respected. In 1934, Аbiken, on the recommendation of the outstanding Kazakh poet and writer Saken Seifullin was invited to perform at the Kazakh Drama Theatre in which he worked up to the end of his days. Abiken produced a number of remarkable theatrical images of national batyrs and biys. His artistic activity was marked by high awards - the Order of Honor and the title of the "Honored Artist of the Kazakh SSR". But the most important part of Abiken's life was connected certainly with the instrumental tradition shertpe, the brightest representative of which he was. The Kazakh artistic, literary and scientific intelligentsia of that time liked to listen to the exciting and heartfelt sounds of his dombra. Fortunately, during Abiken Khasanov's life the gramophone records were made into which some kyuis by Tattimbet, Abdi, as well as his own kyuis ("Коnyr") and transpositions of songs were included.

 

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Kazakhstan 7

From  the hoary antiquity to the present day an interesting Kazakh folk legend about the unearthly and  supernatural origin of music, singing have come. It says that the song soaring high in the sky, flying over the great steppe of Kazakh nomads, fell very low, for this reason people, who heard it, were endowed with a great musical gift and abilities by nature. And the people say: «God has invested into the soul of each Kazakh a particle of a kyuy from birth».
  

   

Akhmedyarov Karshymbai

75 Kyuis 
 

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75 

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More than 50 kiuis were created by K.Akhmedyarov, among them «Naryn», «Kuanysh», «Ak kain», «Zheldirme», «Sagynysh» are most well known. Akhmedyarov can be rightly called the performer who introduced the world to the performance of Kazakh kiuis. Once you start listening you can't stop ...

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Kazakhstan 6

Dauletkerei(Shygaiuly) (1820-1887) - composer, kiuishi. Dauletkerei was an advocate of the spiritual development of mankind and always defended his principles and convictions. He travelled widely, met with the representatives of artistic and clerical circles and studied common people’s way of life. One of the most important events in the composer’s life was meeting with great Kurmangazy. In addition to Kurmangazy, the kiuishis such as Sokyr Eszhan, Baizhuma, Musirali especially influenced the creative activity of Dauletkerei. Under the influence of such great men formed his civil world outlook and creative development. Dauletkerei’s compositions show progressive social views, philosophy of life, the lyrics of the times, the history of the people. The kiuis of Dauletkerei -«Akbala kyz», «At kalgan», «Baizhuma», «Zhiger», «Kudasha» etc. entered the treasury of Kazakh musical culture.

Various artists

Shigaev Dauletkerey - Kyuis

 

Nurpeisova Dina (1861-1955) - outstanding representative of traditional art; composer and performer; apprentice of the great Kurmangazy, Popular Artist of Kaz.SSR. Dina’s creative activity links the past with the present. From this viewpoint her creative development itself represents a kind of transitional stage, the missing link between the classic past and the modern state of dombra music. This transitional stage is characterised by complexity and contrariety and is marks the important social and political life of the people (the liberation movement of 1916, the revolution, the Second World War, the post-war restoration period). Dina, who began her activity surrounded by her beloved teachers and preceptors, passed through all the trials and in post-war era passed as if from hands to hands the great achievements of the classics of dombra art. Dina Nurpeisova’s performances that survive on tape include the works of Kurmangazy and Dauletkerei and also her own kiuis. Dina lived a long and hard life. But no hardships could break down this proud and courageous woman. In spite of the hardships Dina never left her «old friend» - the dombra. All her life she had been perfecting her playing skill, reaching that supreme mastery, which allows by the testimonies of witnesses to speak about her unsurpassed dombra technique. The works of Dina became classics of Kazakh dombra music: the kiuis «Bulbul», «Kogen tup», «Baizhuma», «16 god (The year 16)», «Asem konyr», «Toi bastar», «Nakaz Materi (Mother’s advice)», «Sauyinshi», «March 8» and others.

 
01. Дина Нұрпейісова - Көркем ханым (I түрі) (2:55)

 

 

Zhantleuov Kali (1902-1970) - singer, dombra player - kiui composer. People’s Artist of Kazakhstan. Born in Uralsk Region. Started playing dombra when he was five. His first teacher was the kiui composer Tulesh. Perfected his performing art with outstanding kiui composers Nurtaza, Mamen and others. Kali was not only a virtuoso dombra player, but an excellent singer. In 1934 won the first place at first Kazakhstan-wide gathering of people’s performers and was invited to work at the folk instruments’ orchestra. From 1944 became one of the first teachers at the Department of Folk Instruments in Kurmangazy Almaty State Conservatory. Zhantleuov knew well folk instrumental music (kiuis), perfectly possessed it’s performing traditions. Many young dombra players came to him to show their skill and receive his blessing. His pupils were Sh.Kazhgaliev, R.Omarov, F.Mansurov, N.Tlendiev and others.

 

02. Қали Жантілеуов - Салық өлген (1:58)
03. Қали Жантілеуов - Қос алқа (I түрі) (2:12)
04. Қали Жантілеуов - Қаражан ханым (3:18)
05. Қали Жантілеуов - Топан (2:15)

  

Gabdiev Rysbai - dombra player, conductor. People’s Artist of Kazakhstan. Prize winner of many competitions and festivals. Born in 1937 in Atyrau Region. Finished Almaty Musical School and the extension department of Al-Farabi Institute of Culture. Since 1990 - artistic leader and chief conductor of Dina Nurpeisova Folk Instrument Orchestra in Atyrau Region. The basis of Gabdiev’s work lies in the kiuis of Kazakh popular composers (Kurmangazy, Dina, Dauletkerei, Abyl), which are recorded on gramophone records. Two of his concerts are included in the golden fond of Kazakh television. With the concert program Gabdiev   has   been   to many cities of Kazakhstan and also to foreign countries. His creative activity he actively combines with teaching. Gabdiev works in Atyrau Pedagogical Institute and is the author of many books on the methodology of teaching dombra.

06. Рысбай Ғабдиев - Көркем ханым (IІ түрі) (3:07)
07. Рысбай Ғабдиев - Қос ішек (1:56)
08. Рысбай Ғабдиев - Байжұма (1:48)

 

 

Eskaliev Azidulla - dombra player. Professor at Kurmangazy Almaty State Conservatory. Born in 1934 in Atyrau Region. Graduated from Kurmangazy Almaty State Conservatory. Since 1960 works as dombra soloist at Kazakhconcert. A.Eskaliev is a talented concert performer, possessing the wonderful gift of virtuoso mastery. Multiple works in his performance are broadcast and telecast. Seventeen of his records have entered the golden fond of Kazakhstan. He is a talented teacher and expert on Kazakh national musical traditions. His research embraces a range of issues in dombra performance, where the bascis of performing dombra kiui are systematised. A.Eskaliev is the author of many kiuis, which are performed by soloists and musical groups.

 

09. Әзидолла Есқалиев - Жеңгем сүйер (2:38)

  

Karima Saharbaeva, dombra player

  

10. Кәрима Сахарбаева - Ысқырма (2:58)
11. Кәрима Сахарбаева - Бапас (2:11)
12. Кәрима Сахарбаева - Ақбала қыз (2:16)
13. Кәрима Сахарбаева - Бұлбұл (2:42)
14. Кәрима Сахарбаева - Жұмабике (2:35)
15. Кәрима Сахарбаева - Керілме (5:25)
16. Кәрима Сахарбаева - Жел ашар (3:19)
17. Кәрима Сахарбаева - Ат қалған (2:28)
18. Кәрима Сахарбаева - Қос алқа (II түрі) (2:29)
19. Кәрима Сахарбаева - Тұндырма (1:44)
20. Кәрима Сахарбаева - Қосағалы (2:12)
21. Кәрима Сахарбаева - Құдаша (5:33)
22. Кәрима Сахарбаева - Қоңыр (2:39)

  

  

Akhmedyarov Karshymbai - kiui performer and composer. People’s Artist of Kazakhstan, State prizewinner of the Republic of Kazakhstan, laureate of the «Parasat» orders. Born in 1946 in Atyrau Region. Graduated from Alma-Ata Conservatory, the Department of Folk Instruments (the class of K.Mukhitova). He worked as dombra player, orchestra leader, and artistic council member of the Kurmangazy Kazakh Academic Folk Orchestra. Akhmedyarov’s repertoire includes compositions of Russian and modern composers and also Russian and foreign classics. He is the composer of arrangements and interpretations of many Kazakh folk compositions. More than 50 kiuis were created by K.Akhmedyarov, among them «Naryn», «Kuanysh», «Ak kain», «Zheldirme», «Sagynysh» are most well known. Akhmedyarov can be rightly called the performer who introduced the world to the performance of Kazakh kiuis.

23. Қаршыға Ахмедияров - Көроғлы (1:33)
24. Қаршыға Ахмедияров - Аңшылық (1:47)
25. Қаршыға Ахмедияров - Жігер (3:05)
  

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Shigaev Dauletkerey

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The historical development of magical and ritual instrumental music led to the formation of an independent branch of professional instrumental music. It reached the climax of its development thanks to the creative work of such eminent kyui-composers of the 19th-20th centuries as Kurmangazy, Dauletkerey, Dina, Kazangap, Yhlas, Tattimbet, Mammen, Sugur and others. This professional music art amply reflecting the life of a Kazakh nomad still adheres to its ancient sacral roots that once conceived it. The ancient notions and piety towards the instruments and music was constantly preserved in the traditional Kazakh society providing for the highest spiritual level of music art and a special deferential attitude towards the musical instruments.

more to read 

   

Kazakhstan 5

  

Kali Zhantleuov

Kyuis

Tracks:

1. Konyr ala
2. Dunie garyl
3. Zhyger
4. Kos alka
5. Kudasha
6. Okhota
7. Salyk olgen
8. Topan
9. Asem konyr
10. Sokyr Eszhan
11. Aday
12. Akbay
13. Alatau
14. Bayzhuma
15. Zhima
16. Kishkentay
17. Kisen ashkan
18. Kainar sheshem
19. Serper
20. Teriskakpay
21. Karazhan khanym
22. Kaigyly kara
23. 17 zhyl
24. Konil ashar
25. Kenes
26. Karasay

 

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 Kyuis

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Kali Zhantleuov - али Жантілеуов

Kali Zhantleuov, the outstanding traditional musician of the 20th century, the dombra player, the artist of the orchestra of national instruments, the People’s artist of the republic, whose 100th anniversary was celebrated in 2002, has brought to us a breath of a great epoch, the “golden epoch” of Kazakh music – the legacy and live tradition of Kurmangazy and Dauletkerei, Balamaisan, Mamen and Dina. West Kazakhstan instrumental music, the tradition of dombra playing, is one of greatest achievements of the Kazakh culture, its remarkable contribution to the world culture treasure. The art of a Kazakh kyui – a lasting state (the word “kyui” means “state”), sounding vibrations of which are similar to cosmic vibrations, has always amazed a listener by its truly universal philosophic depth. The West Kazakhstan dombra tradition, the peak of which in the 19th century was the Kurmangazy’s and Dauletkerei’s genius art, reached our time in performance versions “from hand to hand”. One of noted representatives of this live performance tradition was Kali Zhantleuov, who took up a thread of succession from hands of Mamen, Kurmangazy’s student.

Kali Zhantleuov was born in Uralsk oblast, the former Bukeyev orda, in the locality of Kisyk kamys/Kamys samar (now Zhana kala). Since 5 years old Kali held on the dombra. The boy’s teachers in dombra art at the beginning of his development were Alabas and Nurtaza kyuishi. Soon Mamen himself, the famous musician, virtuosos dombra player, one of students of the great master took notice of Kali and taught him some kyuis. Sometimes Kali accompanied his teacher on his trips. Since Kali learned by an aul mullah and knew reading and writing, at the age of 25 he became a member of the aul Soviet and in 1929 entered the kolkhoz.
A new period started for Kali in 1934, when he came to Alma-Ata to take part in the Republican gathering of people’s art workers. Here he took the first place and was invited to the orchestra of people’s instruments, where he became the “right hand” of Akhmet Kuanovich Zhubanov – the orchestra’s conductor and artistic head. For many years Kali Zhantleuov was a concertmaster of tenor dombras in the orchestra. Kali used to teach young dombra players the performance skills and kyuis.

When the Alma-Ata conservatory was opened, Kali Zhantleuov received an invitation to be a dombra teacher. His students were outstanding musicians, such as Shamgon Kazhgaliyev and Fuat Mansurov, who later grew as well-known conductors. The classic dombra plying tradition Kali Zhantleuov passed over to Azidulla Eskaliyev, Karshyga Akhmedyarov, Shamil Abiltayev and Tuyak Shamelov.

Kali Zhantleuov’s creative work is many-sided. He was not only the prominent dombra player and the tutor, but also a good singer. Kali’s performance art covers a wide range of styles. He was the unsurpassed performer of Dauletkerei, the people’s professional composer who has deepened the dombra tradition’s philosophical and psychological compass. His performance of “Zhiger” kyui according to A. Zatayevich, “the music of the exclusive depth, pathos and significance” until now remains to be the unattainable height of the dombra art. The performances of Kurmangazy’s and Dina’s kyuis are distinguished by an adherence to the origin spirit and a virtuosos finishing of details. Nowadays we can listen to the kyuis of Mamen, the unique author by the performance complexity only owing to that that Kali himself, as a musician, did not yield to his teacher.
Kali Zhantleuov is, according to A. Raimbergenov, the “last great representative of the Bukeyev dombra tradition”. The life and creative work of Kali Zhantleuov are convincible of the sustainability and strength of the people’s art, its imperishable value for the culture of today’s independent Kazakhstan.

 

Source 

  

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Kazakhstan 4

Eternal Melody
kazakh kuis performed by qobyz, sybyzghy
and other traditional music instruments

Kobyz(kylkobyz)  Kobyz was  sacred  instrument. Ordinary people even were afraid to touch that instrument, because they believed, that kobyz like the  owners  of the instrument - baksis, had wonderful magic force and could influence ' the fate of man. According to the legends, kobyz and music of kobyz could banish evil spirits, illnesses and death. Kobyz   -   an   antique   two-stringed bow instrument. It is an ancient type of bow instrument, which was used by the peoples of Siberia, Central Asia, along the Volga, and in the Caucasus. Each people have their own name for bow instruments of this kind, but they resemble each other in structure, hair strings, tuning, and method of playing. The structure of the instrument itself speaks to its antiquity. The kobyz is made of one piece of juniper, maple, pine, or birch. The instrument consists of three parts: the head (bas), middle (basis-keude) and lower (ayak). The basis of the instrument is made as an open cup, stretched downwards. Its lower part is covered in leather (the sounding board). Strings for kobyz are still made of horsehair. The bow is arch-shaped and resembles an arrow bow: a bunch of horsehair is bound to both ends of a curved branch and fastened by a firm thread of camel wool. The performer embraces the bow from one side by his palm. This shaman’s instrument looked very unusual: the head was crowned by an eagle’s feather, hung by different metal plates as a kind of horny curls, figures of birds, which rang with the measure of music; on the bottom of the cup there was a mirror. Those were not only decorations, but also shaman’s symbols. The kobyz has an unusual rich and colourful timbre. The philosophical legend about Korkyt - the creator of this amazing instrument is connected with kobyz.

 Eternal Melody - Qobys Kuis - CD 1

1. Zhappas Myqtybai - Qongyr
2. Dawlet Myqtybai - Qorgyt (1.Version)
3. Musabek Zharqynbek - Qorgyt (2.Version)
4. Musabek Zharqynbek - Qorqyt Saryny
5. Musabek Zharqynbek - Zhelmaya
6. Shamshi Erenbek - Zhelmaya
7. Musabek Zharqynbek - Ushardyng Uluuy
8. Musabek Zharqynbek - Auppai
9. Musabek Zharqynbek - Targhyl Tana
10. Musabek Zharqynbek - Bashpai
11. Musabek Zharqynbek - Elim-ai, Khalqym-ai
12. Sayan Aqmolda - Tolghau
13. Qazbek Aben - Saryn
14. Qazbek Aben - Qongyrzhai
15. Qazbek Aben - Aqqu
16. Qazbek Aben - Qoshtasu
17. Qazbek Aben - Torghai Tolghauy
18. Qazbek Aben - Sybyzghy
19. Saghyntai Elepan - Kozimbetting Sayny
20. Saghyntai Elepan - Saghyntaidyng Kuii
21. Bazarkhan Qosbasar - Saryn
22. Alquat Qazaqbai - Baqsy

Eternal Melody - Qobys Kuis - CD 2

1. Zhappas Qalambai - Munglyq-Zarlyq
2. Zhappas Qalambai - Qongyr
3. Zhappas Qalambai - Qanshaiym
4. Zhappas Qalambai - Qasgyr
5. Zhappas Qalambai - Yqylas
6. Zhappas Qalambai - Qazan (2 Version)
7. Zhappas Qalambai - Zhez Kilik (1 Version)
8. Zhappas Qalambai - Zhez Kilik (2 Version)
9. Zhappas Qalambai - Marsh
10. Saghyntai Elepan - Kertolghau (1 Version)
11. Daulet Myqtybal - Kertolghau (2 Version)
12. Daulet Myqtybal - Erden
13. Daulet Myqtybal - Zhalghyz ayaq
14. Daulet Myqtybal - Qazan (1 Version)
15. Daulet Myqtybal - Airauyqtyng Ashy Kuii
16. Daulet Myqtybal - Zholaushynyng Qongyr (1 Version)
17. Daulet Myqtybal - Zholaushynyng Qongyr (2 Version)
18. Daulet Myqtybal - Qambar Batyr
19. Daulet Myqtybal - Shyngyrau

Eternal Melody - Qobys Kuis - CD 3

1. Daulet Myqtybai - Aqqu
2. Smatai Umbetbai - Erden
3. Smatai Umbetbai - Qambar Batyr
4. Smatai Umbetbai - Zhalghyz Ayaq
5. Smatai Umbetbai - Kertolghau
6. Smatai Umbetbai - Qongyr
7. Smatai Umbetbai - Toghyz Tarau
8. Smatai Umbetbai - Qazan
9. Smatai Umbetbai - Aqqu
10. Smatai Umbetbai - Zhez kiik
11. Sayan Aqmolda - Airauyqtyng Ashy Kuii
12. Sayan Aqmolda - Shyngyrau
13. Nurghazy Zhienkhanuly - Arqa Saryny
14. Nurghazy Zhienkhanuly - Arghyn Ama

The Sybyzgy is the instrument most frequently mentioned in ethnographic literature of 18th-19th centuries. However, since the end of 19th century it is rarely met. It is easily made by perforating three or four finger holes in a cane 500-700 mm long. Since the 19th century sybyzgy is also made of metal. It is a favourite instrument of herdsmen and mostly used for playing songs and kyuis of lyrical character, which helped to preserve the most ancient mi: cal art, The playing technique is complex due to its primitive nature. However, it is this design that gives the quivering, 'natural' timbre and rich overtone sounds that makes playing the ancient bourdon duo phony possible. Blowing the three-holed instrument produces a scale of over two octaves.

Eternal Melody - Sybyzghy Kuis - CD 4

1. Bolat Sarybai - Uzbe
2. Bolat Sarybai - Nar Idirgen
3. Bolat Sarybai - Qongyr
4. Bolat Sarybai - Salawat
5. Bolat Sarybai - Qambar Batyr
6. Shanaq Aughanbai - Qylang Batyr
7. Shanaq Aughanbai - Balqurai
8. Talghat Mughysh - Sary Ala Qaz
9. Talghat Mughysh - Arbiyan Qongyr
10. Talghat Mughysh - Angshynyng Zary
11. Talghat Mughysh - Begim Ber
12. Talghat Mughysh - Sary Ozen
13. Talghat Mughysh - Kenges
14. Talghat Mughysh - Boz Inggen
15. Talghat Mughysh - Toqta Bayau
16. Talghat Mughysh - Qozy Korpeshting qoshtasuy
17. Talghat Mughysh - Beibitshiik Quzy
18. Talghat Mughysh - Zharaly Aqboken
19. Talghat Mughysh - Sal Qula

Eternal Melody - Sybyzghy Kuis - CD 5

1. Kalek Qumaquai-uly - Arman
2. Kalek Qumaquai-uly - Balzhyngger
3. Kalek Qumaquai-uly - Boken Zaarghaq
4. Kalek Qumaquai-uly - Beijinn Sary Atan
5. Kalek Qumaquai-uly - Boz Ingen
6. Kalek Qumaquai-uly - Zhorgha Ayu
7. Kalek Qumaquai-uly - Zhayau Deldal
8. Kalek Qumaquai-uly - Sary Ozen
9. Kalek Qumaquai-uly - Tepeng Kok
10. Kalek Qumaquai-uly - Keng Zhailau
11. Beiilkhan Qaliaqpar-uly - Aqqabanyng Tolqyny
12. Beiilkhan Qaliaqpar-uly - Angshyny Zary
13. Beiilkhan Qaliaqpar-uly - Aqsaq Auy
14. Beiilkhan Qaliaqpar-uly - Aqymzhannyng Qongyry
15. Beiilkhan Qaliaqpar-uly - Boghda Bultary
16. Beiilkhan Qaliaqpar-uly - Boz Inggen
17. Beiilkhan Qaliaqpar-uly - Bolenkhannyng Qongry
18. Beiilkhan Qaliaqpar-uly - Buqtyrma Ozeni
19. Beiilkhan Qaliaqpar-uly - Ertis Tolgyny
20. Beiilkhan Qaliaqpar-uly - Zher koksegen Sary Atan
21. Beiilkhan Qaliaqpar-uly - Qara Ospan Biding Qara Qulag Atynyng Zhurisi
22. Zhumakhan Shotpaq-uly - Zhalghyz Zhigit
23. Zhumakhan Shotpaq-uly - Katiden koshkendegi tengizding tolgyny
24. Qusman Maqmyrza - Maidajal
25. Qusman Maqmyrza - Adasqan Qaz
26. Qusman Maqmyrza - Zhelmaya
27. Qusman Maqmyrza - Qorqyttyng Qoyzy
28. Qusman Maqmyrza - Qorqyttyng Kuii
29. Qusman Maqmyrza - Qabanbai batyrdyng zhaugha shapqandaghy Qubas Aty

The shankobyz is a metallic, tongue-played instrument made of silver and other precious metals. To play it, it is held by the teeth and the mouth cavity serves as a resonator. Real polyphony is achieved owing to the easily achieved overtones and their distinctiveness. Its chamber sound is most suitable for the lyrical songs. The shankobyz is a favourite instrument for children and women alike.

Saz syrnai - an ocarina-type flute is made of fired clay. Uskirik and tastauyk ('tas' - tone, 'tauyk' - a bird in Kazakh) are similarly made. These arc children's instruments used to imitate the voices of birds and animals in addition to playing simple tunes. Improved types are very popular nowadays due to their fascinating mild timbre and used to provide a kind of colouring to the modern ensemble music.

The zhetygen earned its name from the seven strings pulled over the frame, which is an empty box about one meter (3 ') long. Two supports in the shape of knucklebone, asyk, are placed on each side under the strings and the instrument was tuned by varying the span between them.
It is played by plucking at the strings and simultaneously pressing it on the opposite side of the support. This variation in tension of the strings produces vibrations of the sound pitches (micro pitching) giving special characteristics to the sound. By the 20th century, not even one of the zhetygen was found with Kazakhs, but thanks to the recollection of old people it has been restored. Improved types of the zhetygen are nowadays used in traditional musical ensembles and orchestras.

The next instrument, sherter, combines features of the dombra - shape - and the kobyz -gouged frame, finger-board without frets, two or three horsehair strings and leather upper board. It is smaller than the dombra and according to legends, shepherds used played it to round up the sheep. The sound it produces is so pleasing to the ear that even birds alighted beside the player. It was played in accompaniment to songs and epics. Today, improved versions are widely used in ensembles and orchestras.

Eternal Melody - Kuis performed by other age-old musical instruments - CD 6

1. Gulsara Pirzhan - Qyz Mungy ( Shang Qobyz)
2. Talghat Sarybal - Tolghau (Shang Qobyz)
3. Talghat Muqysh - Kerbez Qyz (Saz Syrnai)
4. Gulzhan Nurghali - Bulbul Torghai
5. Nurgul Zhaqypbek - Kokserke (Zethigen)
6. Nurgul Zhaqypbek - Kokserke (Zethigen)
7. Nurgul Zhaqypbek - Sur Borte (Zethigen)
8. Nurgul Zhaqypbek - Zheldirme (Zethigen)
9. Nurgul Zhaqypbek - Zhalghyz Kiik (Zethigen)
10. Ersaiyn Basyqara - Qara Zhorgha (Sherter)
11. Zamzagul Izmurat - Asem Tolghau (Sherter)

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 Kyuis

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KAZAKH MUSICAL INSTRUMENTS

http://www.bukhara-carpets.com/kazakh-musical-instruments.html

http://www.kazakhstan-tourist.com/page.php?page_id=538&lang=2

http://musicheritage.nlrk.kz/index.php/en/menu/show/25

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Kazakhstan 3

   

Bakyt Basygaraev - Kyuis
Бақыт Басығараев - Күйшi
2004

Tracks:

Күй шақырғыш Ақжелең
Домалатпай Ақжелең
Көкейге түскен көкілжан
Ысырма
Құс қайтару
Шынаяқ тастар
Өттің дүние, кеттің дүние
Құй қожаң бол, молдаң бол
Дөңгелек Ақжелең
Бұраңбел Ақжелең
Балжан қатын
Сен кеткенде мен қайтем
Торы жорғаның бөгелек қақпайы
Шымырауыл құс
Ноғайлының зары
Кел сана батыр, кел сана
Қазыл қайың Мамыт-ау
Айша қатын
Жем суының тасқыны
Толқында
Аман қосым аман болсын
Торы аттың кекіл қақпайы

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 Kyuis

 

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According to the book “kuy kainari” (A. Raimbergenov 1990)  The history of traditional music of kazakhs closely interconnected with great musician Korkyt. It is proved by historical materials found in South part of Kazakhstan. But it is difficult to say the exact time when the traditional music was appeared in our country. Because, all the musical heritage of kazakhs was not written(note), it came to our days through hearing from generation to generation. Many of “kuys”(traditional musical composition) were forgotten and lost.I think, if our musician ancestors put their compositions into notes , we would have more musical heritage.

     The development of traditional kuys was in 19th century in the time of famous musicians and talented “kuishi” as Kurmangazi, Mahambet, Tattimbet, Kazangap, Dina, Sugir etc. They continued traditional way to new generation and created their own compositions which became classical music of kazakhs. I suppose, 80-90% of compositions what came to our days created by these musicians.

    In site  www.wikipedia.org/wiki/music_of_kazakhstan written about traditional music during USSR time and its reseachers and change. Yes, In the time of USSR most of kazakh musical heritage was explored by reseachers as Zataevich, Zhubanov, Aravin, Erzakovich, Mergaliev etc. They explored music from villages and put, write music into books with notes. Thanks to these reseachers traditional music in Kazakhstan is alive and developing. Today what we learn,play and hear from traditional music are works of these reseachers.

source 

Kazakhstan 2

 

Turar Alypbayev - Dombra
Тұрар Әліпбаев
Тұрардың орындауындағы күйлер
2005

Тracks:

1. Қарасай - Халық күйі
2. Жауға шапқан - Махамбет
3. Байжұма - Құрманғазы
4. Төремұрат - Төремұрат
5. Жігер - Дәулеткерей
6. Ақжарма - Есір
7. Абыл - Абыл
8. Жеңіс - Мұрат Өскенбаев
9. Көкіл - Қазанғап
10. 18 жасар Балжан қыз - Қазанғап
11. Ұршықтың жұртта қалғаны - Қазанғап
12. Қоңыр ала - Әлікей
13. Бұлбұл - Дина
14. Майда қоңыр - Сүгір
15. Адасқақ - Охаб Қабиғожин
16. Имаш Байжұма - Қаршыға Ахмедияров

 

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Dombra 

 

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Dombyra is a kazakh stringed musical instrument played by plucking. It has wooden frame (its length is 1000-1300 millimeters) and two strings. Dombyra is the sole of kazakh people. It can show the most deep feelings and experience , also console in diffcult minutes of trouble.

Dombyra-wisdom of people. Many of kuis are played with dombyra. From these kuis we can hear life experience of our ancestors, history of dramatical events , they bring knowledge about nature, philosophical views of humanity from generation to generation. Dombyra kuis were important factors of between generation succession and work as between timely tool of communication.

Dombyra is a history of nomads. Through centuries and milleniums it brings memory about first pages of nomad’s history. Dombyra was witness of many historical events , which played key role in destiny of ancestors.

As famous poet Kadir Mirzaliev said “real kazakh is not kazakh , real kazakh is dombyra!” our people always like, respect the songs and kuis peformed in dombyra. I suppose,In any kazakh family we can see at least one dombyra and at least one person in family could play it.

National instrument dombyra in different region had different character. It varied in length, neck, shape of corpus and amount of frets. The national instrument in western Kazakhstan with long ,thin neck, pear-shaped form with 13-14 frets. Dombyra of Central Kazakhstan had wide and short neck , trapeziform or triangle form, with 6-8 frets. Unfortunately, in twentieth century hapenned unification of form and size, because of its industrial manufacturing.

Dombyra

 

 

 

Kazakhstan

 

Әсем ән мен тәтті күй төгілгенде...

Тәттімбет атындағы академиялық халық аспаптары оркестрі

Tracks:

1. Тәттімбет, «Сарыжайлау»
2. Түркеш, «Көңіл ашар»
3. И. Жақанов, «Қарағанды вальсі»
4. Тәттімбет, «Молқара»
5. Құрманғазы, «Адай»
6. С.Сейфуллин, «Тау ішінде»
7. Сүгір, «Аққу»
8. Байжігіт, «Келіншек»
9. Е. Үсенов, «Кузгі әуен»
10. Тәттімбет, «Азамат кожа»
11. Н.Тілендиев, «Атадан мұра»
12. Жаяу Мұса, «Ақ сиса»
13. Естай, «Құсни - Қорлан»
14. Тоқа, «Сарыжайлау»
15. К.Күмісбеков, «Биші кайың»
16. К.Салықов, «Сарыарка»
17. Тәттімбет, «Көш жанаған»
18. Құрманғазы, «Серпер»
19. И.Жақанов, «Балқантау»
20. М.Жанболатов, «Сағындым Сарыарқаны»
21. Ықылас, «Жез киік»
22. Құрманғазы, «Сарыарқа»
 

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 Songs & Melodies

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When poured beautiful songs and beautiful melodies...

 

This album includes songs and melodies of Kazakh folk composers in the performance of the academic orchestra of folk instruments name Tattimbeta, Karaganda. Chief conductor - D. Ukibay.
 

Tattimbet Kazangap-uly

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