History / Historical records
The First Reports on the Ancient Kyrgyz
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12.11.2014, 19:12
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1) The banknotes of the Kyrgyz som are made of 100% cotton. The material for the banknote is chosen for a reason. Cotton, unlike regular cellulose paper, withstands more than five thousand folds. In contrast, cellulose paper tears after 80 folds. The lifespan of a cotton banknote ranges from one to a maximum of five years. 2) The lifespan of coins is 5-8 years. Coins with denominations of 1, 3, 5, and 10 soms are made from nickel and steel. The production of coins with denominations of 1, 10,
YUDAKHINA Tatyana Georgievna
SHUMAKOVA Galina Konstantinovna
SCHNEIDER Viktor Genrikhovich
Aidar kel — wind incantation. Aitym kuulor — virtuoso instrumental performances. Aitysh — a major singing and poetic competition among akyns. Akynek — comedic women's or children's song-dialogue. Akyn — folk-professional singer and improvisational poet. Alym sabak — singing-poetic competition among akyns "catch the line". Arman — genre of lyrical song. Arnoo ыры — akyn's dedicatory song. Asa-musa (asa-tayak) — musical-noise instrument. Atkaruuchu — performer. Ashyktik
In the post-October period, a new stage begins in the study of Kyrgyz musical folklore, laying the foundations for the formation of a musicology school in Kyrgyzstan.
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In the music for choor, sybyzgy, and other wind instruments, there is a special figurative sphere that is hard to imagine without in the national culture. It provides a sense of the eternity of existence and a mood of calm contemplation. Furthermore, wind instruments traditionally carry practical functions, serving the labor, daily life, and leisure of the Kyrgyz people. The oldest types of wind instruments, preserved to this day in certain samples, refer us to the "primordial
Asanbay Karimov (1898— 1979) — an outstanding folk professional choorchu. A self-taught musician, he captivated listeners with his playing on the traditional longitudinal wooden choor.
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.
Adamkaly Baybatyrov (1895—1953) — a brilliant temir komuz player, puppeteer, and harmonist, a versatile artist and organizer.
Toktosun Tynybekov (1927—1982), a renowned improvisational akyn, honored artist of the Kyrgyz SSR. Under his leadership, an ensemble of eleven people successfully performed at the second Decade of Kyrgyz Art and Literature in Moscow (1958), at the seventh congress of the International Music Council (Moscow, 1971), and at the Musical Tribune of Asian countries (Alma-Ata, 1973). The ensemble included K. Zhusubalieva, Zh. Sarkobenova, B. Matkadyrova, S. Tolokova, and others. Suidum Tolokova was a
The current generation of professional temir komuz players is led by Rimma Madvarova (born 1929), who is also a flutist and the head of the children's ensemble "Keremet." R. Madvarova began learning to play folk instruments at the age of four under her grandmother Tursun. In 1953, she graduated from the Kyrgyz State Musical College named after M. Kureneev in the wind instruments class, worked in the orchestra of the Kyrgyz State Academic Theater of Opera and Ballet named after
The ethnographic method of teaching and performing that is maximally close to tradition is practiced by Nurlanbek Nyshanov — a multi-instrumentalist and master instrument maker.
Shaken Zhorobekova (born 1945) is a singer and instrumentalist from the Ala-Buka district of the Osh region, a honored artist of the republic. Her performance of music for the zhygach ooz komuz first took place in 1967 at competitions of folk singers and musicians. At that time, she played the kyuu "Kukushka" ("Kukuk"), marking the beginning of the spread of zhygach ooz komuz music as an independent instrumental genre.
SHERALIEV Tokon Matkasymovich
An outstanding kyl kyakist and komuz player was Murataaly Kurenkeev (1860—1949). He was born in the village of Taldy-Bulak, now in the Kemin district of the Chui region, into a musical family. His father Kurenkey and grandfather Belek played the kyl kyak, komuz, choore, surnae, and kernee.
One of the best representatives of the kyl kyak tradition of the late 19th — early 20th century is Zholoy Boogachinov (1888 — 1934). He was born in the village of Ichke-Suu, now in the Toktogul district of the Jalal-Abad region, in a family of musician-kyakchy.
Said Bekmuratov (1901—1966) — an outstanding kyl kyakist of the 20th century. He was born in the village of Zhil-Keldi, now in the Kara-Suu district of the Osh region, into a peasant family. He began playing the kyl kyak under the guidance of his grandfather Kalymbet. Local musicians Narmat and Ashyr also had a certain influence on him. In 1933, he started working at the Kyrgyz State Drama Theater, where in a small orchestra led by P. Shubin and D. Kovalev played Murataaly Kurunkeev, Karamoldo
SHEYSHEEV Kanatbek Turganbaevich
One of the ancient layers of Kyrgyz instrumental music in the oral tradition is associated with the kyl kyak. It clearly lags behind the komuz in popularity among both performers and listeners. It is indicative that at the first All-Kyrgyz Olympiad of Folk Musical Creativity, held in the capital of the republic in 1936, out of thirteen instrumentalists, ten played the komuz, two played the temir komuz, and only one played the kyl kyak. Nevertheless, this instrument, along with the genres
SHAMBETOV Zamirbek Kassenovich
TSEVMENKO Alexander Ivanovich
Tsalkosova Lyudmila Alexandrovna
FILIPENKO Evgeniya Fyodorovna
UMARALIEV Sanabek Kemelbekovich
UMAMBEKOV Bektursun Kanimetovich
TURSUNOV Anvar Tursunbaevich
TURDUMAMBETOV Amankul Abdrakhmanovich
TURGHUMBEKOVA Elmira Zarifovna
In Kyrgyzstan, several regional performing schools have developed, each with distinctive stylistic features. In the 20th century, they found their leaders in the form of famous komuz players. The performance style of the Issyk-Kul musicians, "led" by Arstanbek, Murataaly, and Karamoldo, is characterized by philosophical depth and strict style. The komuz players of the Osh school have managed to preserve the ancient, archaic traditions of performance, represented honorably by
Nurak Abdrakhmanov (born 1947) is a renowned professional singer and musician, honored artist of the Kyrgyz Republic. He was born in the village of Togolok Moldo in the Ak-Tala district of Naryn region; his father was a komuz player. Nurak studied at the Tokmok Cultural and Educational College, worked at the district House of Culture, and successfully participated in republican folk art competitions. Since 1985, he has been a soloist of the "Kambarcan" ensemble of the Kyrgyz State
Chalagyz Isabaev (1937—1991) — a renowned komuz player, founder of the ensemble "Kambarcan," and honored artist of the Kyrgyz Republic.
Bolush Madazimov (born 1927) — an outstanding komuz player, laureate of the State Prize of Kyrgyzstan named after Toktogul (1989), People's Artist of the Republic (1997).
Shekerbek Sherkulov (1902—1980), one of the last students of Toktogul Satylganov, was born in the village of Talas-Aryk, now part of the Talas district in the Talas region, into a family of musicians. In his childhood, Shekerbek not only played the komuz but also performed folk songs and dastans. One of his favorite tales was the Kazakh dastan "Kyz Zhibek."
Ybrai Tumanov (1885—1967) — an outstanding folk composer and komuz player, created over 30 original compositions.
Karamoldo Orozov (1883—1960) — a great author and komuz player, whose music has been preserved not only in the folk memory but also in the musical transcriptions of renowned folklorists. In the last decades of his creative activity, he recorded his repertoire on the republican radio.
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