Niyazaly Boroshev (1856—1942) — a well-known folk author-performer. He was born in the Jany-Jol district of the Osh region. He began playing the komuz at the age of fifteen and was already performing complex kyus such as "Ketbuka," "Taichidan-Taichi," and other pieces. Gradually, he became a true master and entered the circle of professionals of his time, such as Eshmambet Bayseitov, Janibai Kozhekov, and Aydaraly Beyshukurov. His talent was highly appreciated by the akyn-improviser Zhenizhok, who dedicated praise songs to Niyazaly.Among Boroshev's original works were kyus such as "Arsar Kuu," "Myrza Kerbez," "Kambar Kan Niyazaly," "Ker Tolgoo," "Kara Ozgai," "Kelinlerin Erke Kuu," "Botoy Niyazaly," and others.
Niyazaly Boroshev's performing style was formed in the traditions of the Talas komuzists' school, and therefore he is characterized by a virtuosic manner. For his outstanding contributions to the promotion of komuz art and his mastery of the instrument, his contemporaries called Niyazaly a great komuzist (zalkar komuzchu).
As was customary in folk musical practice, recognized musicians would travel on horseback for "tours" through ails and kystaks. Niyazaly Boroshev, along with Toktogul Satylganov and Korgool Dosuev, introduced many of his compatriots to his compositions in this way.
One of them was the famous piece "Sary Barpy," sometimes performed with lyrics. It is a theatrical vocal-instrumental scene, a dialogue between a bird guarding its chicks and a predatory snake.
Another, larger piece by Niyazaly Boroshev, "Nakhaliy" ("Kara Ozgai"), can be called one of the most popular works of komuz music. It holds a strong position in the repertoire of professional performers. The piece is cheerful and joyful in character, with dynamic and assertive imagery. The komuz is tuned in fourths (chyn tolgoo), the tempo is fast, accelerating even more towards the end. The kyus is performed with various external effects, such as sweeping movements of the right hand, pantomime gestures, and tricks using the komuz, which is placed by the left hand on the right or left shoulder, rests on the forehead, on the musician's knee, or is set on the ground. This kyus vividly showcases the style of the virtuoso-playing genre of komuz music.
There are two versions of the sheet music for "Kara Ozgai" by Niyazaly. The first, performed by Korgool Dosuev (1940), was published by V. Vinogradov in the book "Musical Heritage of Toktogul" (No. 96). The second was notated by Chalagyz Isabaev based on the version that developed in the performance of the komuzists ensemble of the Kyrgyz State Philharmonic.
