One of the oldest and most widespread types of Kyrgyz folk instrumental music is the kyuu for the temir ooz komuz (or temir komuz) and zhygach ooz komuz. The modest arsenal of expressive means of these instruments is compensated in the kyuu by the figurative-thematic relief and unique timbre variety.
The sound of the temir komuz is characterized by a special color. It possesses a delicate silvery timbre, which is perhaps unattainable for any other folk instrument and is only vaguely imitated by harmonics on string instruments. The timbre of the zhygach ooz komuz is sharper and more resilient, but it also lends itself to chamber, sensitive music-making.
The volume of both instruments is modest, which is related to their size and the fact that the resonator, which amplifies the sound and regulates the movement of the melody, is the performer's mouth cavity. On the modern concert stage, where temir komuz players also perform, the sound of the instrument is amplified using a microphone.
The characteristics of the sound and performance on the instrument are also linked to the features of the music for the temir komuz and zhygach ooz komuz. These are predominantly miniatures. At the same time, they also embody the general tendency of Kyrgyz instrumental music towards pictoriality, imagery, and programmability. Kyuu are usually monotypic and fixed on one thematic "seed." However, within this rather rigid dramatic scheme, the professional performer improvises freely and easily.
The physical properties and sound production mechanism of the instruments are so specific that they form a repertoire characteristic only of this subgroup. In the past, simple tunes sounded during leisure hours, girls' games, night vigils of shepherds, and at weddings. The basis of the repertoire of folk and folk-professional temir komuz and zhygach ooz komuz players consisted of lyrical, playful, and ritual tunes. In the "Collection of Kyrgyz Folk Tunes for Temir Komuz" by B. Feferman (Frunze, 1965), for example, "Arman kyuu," "Kobchik" ("Turumtay"), "Dubana," "Old Tune" ("Eski kyuu"), and others are presented. It is also possible to perform more complex kyuu created for other instruments ("Choor kyuu").
The original sound-imagery data of the temir komuz allow for the expansion of its repertoire with various programmatic pieces: "Nightingale" ("Bulbul"), "Lark" ("Karacha torgoy").
If previously these were purely diatonic pieces due to the structure of the instruments, in the last decade, a chromatic system has gradually been introduced. In this case, the performer uses two or three temir komuz with different tunings, holding them between the fingers of the left hand.
A. Zataevich recorded eleven kyuu for temir komuz performed by Omurkul Zhetikashkaev, Sagynai Imanalieva, and Sary Kakisheva. All pieces were played in the "G" tuning, the most common for this instrument.
Composer and conductor B. Feferman transcribed 36 recordings made by expeditions of the folklore cabinet of the Union of Composers of Kyrgyzstan in the 1960s from Sagyn Satybaldiyeva, Bashai Sadyrova (both from the Talas region), and Turdukan Murzaeva from the Osh region. Currently, the recording and transcription of kyuu are conducted by members of the Madvarov family (Bishkek).
In the first half of the 20th century, due to the expansion of the arsenal of musical instruments with European ones (harmonica, accordion, bayan, guitar), as well as the reorientation of the main forms of musical life from rural to urban, interest in the temir komuz and zhygach ooz komuz noticeably declined. However, by the middle of the century, the trend changed.
In the 1950s, B. Feferman — the chief conductor and artistic director of the Kyrgyz Folk Instruments Orchestra named after K. Orozov — introduced the temir komuz as a solo instrument. In 1939, a unison ensemble of female temir komuz players was created at the Kyrgyz State Philharmonic. In the early 1960s, the ensemble was revived at the initiative of the chief conductor of this orchestra, People's Artist of the USSR Prof. A. Dzhumakmatov.
The experience of using the instrument in a polyphonic ensemble is certainly of particular interest, and the resolution of the artistic problems that arise in this context will undoubtedly benefit the further development of traditional musical culture. However, from a scientific perspective, such use of the instrument is a deviation from tradition.
Currently, among professional musicians and listeners, there has been a significant increase in attention to the temir komuz and zhygach ooz komuz as ancient sources of specific sounds. There is a foundation for the development of the art of playing the temir komuz in the context of professional concert activity — a class of temir komuz at the P. Shubin Children's Music School. Here, a youth ensemble "Keremet" has been created, which has gained wide recognition. Modern composers willingly write folk arrangements and new works for ensembles.
The history of Kyrgyz folk instrumental music preserves the names of women temir komuz players: Tolgonai, Aichurek. The well-known Issyk-Kul temir komuz player Burulcha Osmonbekova (1836—1916) from the village of Orukgu in the Tyup district is also notable. Famous musicians from her homeland dedicated their works to this wise and talented woman. She was elected as the volost ruler (bolus).
Burulcha did not have equally outstanding students, but the Issyk-Kul performing school owes its overall high culture to her, whose playing was characterized by virtuosity and a wide range of sounds and images. Even today, kyuu that were performed and possibly created by Osmonbekova remain popular. Among them are "Old Melody" ("Eski kyuu"), "Sad kyuu" ("Arman kyuu"), "Little Goat" ("Tak-teke"), "Stretched Mountains" ("Kerme too"), "Burulcha's Swing" ("Burulchanyn selkinchek"). The music of the temir komuz, which in the past had a purely domestic purpose, has now acquired the properties of concert genres. In this regard, it is worth noting A. Baibatyr, who came up with the idea of creating a temir komuz ensemble.
Adamkalyy Baibatyr (1895—1953)
Toktosun Tynybekov (1927—1982)
Rimma Madvarova (born 1929)
Nurlanbek Nyshanov
Shaken Zhorobekova (born 1945)
