Tattimbet Kazangapuly(1815 (1817) – 1859 (1860)) one of the founders of classical dombra music, an outstanding composer of the XIX century, an unsurpassed author and performer of the tunes (kui) style «Shertpe», Kazakh volost ruler, public figure and diplomat.
Biography
The XIX century for Kazakh society is one of the most difficult and crucial periods of modern history. The process of joining the territories of the Younger, Middle and Senior Zhuzes to the Russian Empire was completed. The Russian government launched a series of major administrative and territorial reforms in the 1820s, 1860s, 1880s and 1890s with the aim of transforming traditional Kazakh society: eliminated the institution of the khan’s power, changed the status of the institution of “Biys” – judges and Sultans, trying to reduce their role in Kazakh society, to make the controlled Kazakh steppe elite, etc. These reforms, the continued colonization of the Kazakh steppe, the seizure of the best lands from nomads, spontaneous peasant resettlement, etc. caused mass national liberation movements of Kazakhs.
This period was designated as «Zar zaman – The Age of Sorrow», which was named from the literary trend in Kazakh poetry. There are colorful figures in Kazakh poetry, as a reflection of the people’s sorrow for the lost well-being and prosperity – akyns Shortanbai Kanay uly, Dulat Babatay uly, Murat Monke uly, Abubakir Kerderi and others. Their works reflect public moods, protest against imperial politics in the steppe and its consequences. But this crucial epoch gave birth to great musicians and thinkers, whose philosophy of works, despite the most difficult period, was saturated with optimism and a huge faith in the future of Kazakh society: Kurmangazy Sagirbayuly, Dauletkerei, Zhayau Musa and others. Among these bright representatives of the Kazakh traditional musical culture should be called Tattimbet Kazangapuly.
The name of Tattimbet in the second half of the XIX and first third of the XX century was known far beyond the Sary-Arka. After the repressions of the 1930s, Kazakh traditional culture, like the names of the bearers of this culture, began to gradually be replaced by «ideologically and classically reconciled» representatives of the new socialist world. Today, the name of the great «kuishi», the outstanding composer of Tattimbet in the «Golden Fund» of Kazakh musical art. The carrier of the genetic code of the Kazakhs of the Sary-Arka Tattimbet took a worthy place in the galaxy of the great representatives of the Kazakh culture of the XIX century.
We should be agreed with the researchers of his life and creativity that «the appearance of the phenomenon of Tattimbet contributed to several factors. M.Ya. Gamarnik calls three factors: «This is a tribal tradition: Among the direct ancestors of Tattimbet there were many byis, sera singers, wits and etc.»; «an important place in the development of the talent of the future kuishi was occupied by a cultural environment that kept the history of the people, his spiritual heritage and highly developed music, especially instrumental»; «And, finally, the nature of the native land, the unique beauty of the Sary-Arka, directly influenced the creativity of Tattimbet»». [1, p. 33].
In our opinion, it is possible to expand the conditions for the formation of the personality of Tattimbet and to allocate 6 factors of the appearance of the «Tattimbet’s phenomenon»: 1) the genealogical of Tattimbet, the genetic roots of the great musician; 2) family education and family traditions; 3) the intellectual environment in which Tattimbet grew and developed; 4) the cultural environment, creative environment, talented, bright personalities around the family of his father Kazangap, including famous musicians, performers, poets; 5) the friends of Tattimbet , who were nearby and supported the kuishi, accompanying him in life; 6) and, of course, the nature of the Sary-Arka, the greatness and beauty of the Kazakh steppe, which have always served as a source of inspiration for all talented people.
Tattimbet came from the subgenus Bektemir, the clan branch of Shanshar, the Karakesek clan of the Argyn tribe of the Middle Zhuz. The Tattimbet’s genealogy is traced by the following lineage (shezhire): Argyn – Meiram – Karakesek – Aksha – Boshan – Taz – Bulbul – Shanshar – Bektemir – Mosheke – Kazangap – Tattimbet. According to legend, Shanshar who brought his fellow tribesmen to Sary-Arka and laid the foundation for a separate clan branch. Shanshar had three wives: Aybike, Nurbike and Kyzdarbike. Among the descendants of Shanshar and Aybike, the famous biys – Kedilbek, Kaz dausty Kazybek, Bekbolat, Alshymbay glorified the genus; from musicians and akyns – Madi. From Sanshar and Nurbike sons were born, one of them – Bektemir the future known in the steppe sere Bitan and Shitan, as well as Daulet and Mosheke. From Mosheke was born Kazangap. Kazangap had sons – Yrsymbet, Kuttymbet, Tattimbet, Zhaksymbet, Ashymbet, Duysen and daughter Maryam. [1, p. 183]
The famous Kazakh poet Kakimbek Salykov describes the genealogy of Tattimbet in his articles: «In the Argyn clan of Central Kazakhstan, the famous Karakesk lived in the mountains of Yedirey, Bedirey, Myrzhyk, won from the jungar tribes and named after their batyr. The Zhungar batyr Myrzhyk had three daughters: Aibike, Nurbike, Kyzdarbike. All of them were beautiful and smart, in them fell in love with the Shansharov jigits, and from them went all the present genealogy. These three dynasties formed the basis of two districts, which called Aybike-Shanshar and Nurbike-Shanshar.
From Aibike was born the famous Keldibek – father of the great «Kaz dausty Kazybek» – adviser to Khan Abylai, a former Kazakh diplomat and bi – the sender of justice, he was a universally recognized wise leader, who contributed to the development of the statehood of the Kazakh people. Then, Bekbolat – father of the famous singer, poet Madi, Tlenshi and contemporary of Tattimbet supreme bi Alshinbay, the grandfather of Abay’s wife. From Nurbike went another related branch: Bertis, Mosheke, Mynbay, Kazangap, Tattimbet. Alshynbai was a bi of Abike-Shanshara volost and Kazangap – was a byi of Nurbike-Shanshara volost». [2, p. 3]
In this way, the Tattimbet’s ancestors and relatives were famous personalities of the Kazakh steppe: political and public figures, byi – Keldibek byi, Kaz dausty Kazybek byi, Bekbolat byi, Alshymbay byi; the valiant warriors-batyrs who defended the Kazakh land from the dzungars – the son of Shanshar Bertys; singers, musicians, sere – Bitan and Shitan, Kontai and Tontai.
So, the first factor – the genealogical, genetic roots of the great musician played a huge role in the birth of the phenomenon of Tattimbet. M. Ya. Gamarnik is given a number of legends about the ancestors of Tattimbet, collected by the author from the aksakals of Karkaralinsk [1, p. 38-41].
The second factor that contributed to the formation of the talented personality of kuishi is family education and family traditions. As already noted, the grandfather, father, mother, uncle of Tattimbet and the atmosphere of the family, his closest family environment, distinguished by authority and honor, which was considered in the family a great dignity, certainly formed the personality and worldview of the future composer and bi.
The third factor is the intellectual environment in which Tattimbet grew and developed. Tattimbet’s father Kazangap Moshekeuly lived around 1775-1845 was an influential and famous volost ruler. S.B. Bronevsky, who visited Central Kazakhstan (Sary-Arka) in the 1820s, tells about «sultans» of the Middle Zhuz in his «Notes»: «Those who found peace and reliable protection, deliberately multiplied and enriched; now between them and sultans, the most significant of them: Urusovs, Tashenevs and Chancharovs» [3, р. 180], about the descendants of Shanshar. The descendants of Shanshar were not sultans, but family nobility, wealth and influence made it possible to characterize them with General Bronevsky.
Kazangap was elected the foreman of the Bektemir family in 1824, in 1832 – the village (aul) foreman, 1840-1844 (1845) – the volost (region) ruler of the Nurbike-Chancharovski volost. The surviving archival documents cited in the studies suggest a significant influence of Kazangap among the Kazakhs of the Middle zhuz and among the colonial authorities. Kazangap was the invited sultans, biys and elders of the «Karakessek volosts» to the council for announcing «the opening of the District Administration at the Karkaraly natural boundary», that is establishment of the Karkaraly district [4, p. 262-265]. A documentary source from the State archives of the Omsk region, dated January 22, 1842 was recorded: «Kazangap, son of Mushikin, I am 67 years old, I don’t know any letters, religion of the Mohammed, Karkaraly district, byi of Nurbike-Chancharovskaya volost, and according to the choice of the people, I have been managing the volost since 1840» [5, p. 46]. Kazangap governs this volost until his death in 1845.
The Russian colonial authorities understood that the reforms would arouse the rejection of the local population and attracted the most authoritative and influential representatives of the steppe nobility, including Kazangap, to stabilize the situation and «calm» the population. He enjoyed great respect in the steppe, had a kind and fair character, solving the problems of his fellow tribesmen, was well versed in the norms of customary law of the Kazakhs.
He was at a reception with the Russian Emperor Nicholas I in St. Petersburg in 1830 and received the rank of lieutenant for conscientious service [6, р. 129-130]. The Kazakh biys Kazangap, Alshybai and Kunanbai were awarded a silver medal with a bas-relief of Nicholas I of 1938-1840 [1, р. 51; 6, р. 103]. The Kazangap family was associated with Abai Kunanbaev: Abai’s mother – Ulzhan was a descendant of Shanshar, and the granddaughter of the Alshimbay byi – Dilda became Abay’s first wife. Musatay Tattimbet married his eldest son to the daughter of the volost governor Musa Shormanov. As you can see, the Kazakh steppe elite made marriages to strengthen their position and condition.
On the aitys of the akyns of Birzhan and Sarah sounded lines about the family of Kazangap, known in the steppe: «The Honor of Kazangap is given as a joke, Famous already from the cradle in the family, Here, everything is with ranks, with wealth and with business, Wife is colonel here, colonel is a child» [7, р. 302; 8, р. 126]
The fouth factor is the cultural environment, the creative environment, talented, bright personalities, which aroused the admiration of others, on which they wanted to resemble or even surpass them. It is quite natural that Kazangap for the “dastarkhan” (lunch or dinner table) often had noble guests – public, political, religious figures, bias, musicians, akyns, etc.; their presence, creativity, conversations could not fail to educate a capable boy: A talented and eminent environment influenced the formation of thinking, talent, personality as a whole.
Another, the fifth factor. On the trips next to Tattimbet was always a great circle of admirers of his talent and friends who were nearby and supported the kuyshi, accompanying him in life. Many of them are famous, extraordinary personalities: Chokan Valikhanov, Abai Kunanbaev and Varnavu Botov (founder of the Koyandinskaya fair) and others.
The six factor is the nature of the Sary-Arka, the majestic breadth of the Kazakh steppe, the free wind and the smell of the tunes (kui), the hills in light smoke, the herd of free horses. All this served as a source of inspiration for the brilliant musician; it is no coincidence that dozens of kui of the composer in harmonious nature and amazing music reflect the beauty of their native land.
In a wealthy family of the influential bi, public figure and volost ruler Kazangap Moshekeuly and from his wife Akbope from the Kerey family in the wintering grounds Kyzylzhal (Mosheke-bulak aul), the Karkaraly district of the Karaganda region was born Tattimbet. The date of his birth in various sources diverges: 1813, 1815, 1816 or 1817. A number of authors (A.K. Zhubanov, K.S. Musatayev – a direct descendant of Tattimbet) call the composer’s date of birth 1817, others (U. Bekenov, A. Meydimbekov) – 1815.
According to the formulary about the service of the governor of the Nurbike-Chancharovskaya volost Karkaralinsk district dated 1852, is indicated that Tattimbet Kazangap byi at age 39 (based on the data of this document, the birth date of the bi was 1813). Mentioned in this vein by the authors and 1816 [9, р. 12]. But all the versions regarding Tattimbet’s birth year are of the nature of assumptions, hypotheses and even archival documents cannot give an accurate date (a 12-year cyclic animal calendar functioned in the Kazakh steppe, so Russian officials poorly oriented in it very roughly indicated these or those dates).
The childhood of Tattimbet, passed in favorable conditions of a peaceful and rich life. The seemingly vast steppes of Sary-Arka, the amazing beauty of Karkaraly have surrounded the boy since childhood. Being the most gifted child in the family, according to the legends, from early childhood Tattimbet impressed others with his observation, sharp mind, quick wit and bright musical talent. His mother Akbope, who knew a large number of folk songs and tales, had a great influence on him. According to the book of A.K. Zhubanova, she «may have loved Tattimbet more than his brothers and sisters, because of the eight children of Kazangap, no one was particularly distinguished by a craving for art» [10, р. 166].
The art of solving litigation in the steppe, administrative experience was shared by father Kazangap, a relative of Alshymbay byi; a great role in the formation of Tattimbet was played by his grandfather Mosheke. At a young age, Tattimbet examined various complaints, adjudicates, and became known throughout the district.
The first music teacher of Tattimbet was Kazangap’s younger brother – Ali, who taught him how to play “dombra”, and as a talented child was called a «kuishi boy» [2, р. 3]. The student of famous Baizhigit – Kuandyk passed on the art of kuiys to Tattimbet. Tattimbet mastered the dominant «shertpe» style of the Sary-Arka tradition. According to the research studies of art this style had «ancient origins and got its classical expression in the music of Saryniyaz-torе and Baizhigit – the main predecessors of Tattimbet as kuishi». Less information is left about Saryniyaz-tore; a little more is known about Baizhigit. He lived in the 18th century in East Kazakhstan (on the territory of modern Semipalatinsk region), being an eyewitness of the Kazakh-Dzungarian wars, expressed heroic themes, patriotic and epic spirit in his works – kuiys. Among the students of Baizhigit was the famous dombra player Kuandyk, who transferred to his students Kenjebai and Tattimbet his art of dombra performance and composing music. [1, р. 51-52]
At young age Tattimbet formed as a kuishi, and wonderful performer with an extensive repertoire. About the Tattimbet’s life were many different legends. An original, talented, handsome young man with exquisite taste, brilliant wit, aristocracy in behavior, young Tattimbet was a favorite of the public. Being a bright and original sere (singer, musician, improviser, artist), the young man created a festive mood where he appeared. In beautiful outfits, with a rich decoration of horses, in a large and noisy accompaniment of horsemen, the lyric musician liked the girls and was a welcome guest at all the holidays in the Kazakh steppe.
Researchers define the place and role of sere in the Kazakh society as follows: «extravagant people of the Epicurean sense» – A.V. Zataevich [11, р. 83]; «Steppe actor» – A.K. Zhubanov [10, р. 166]; «Universalism of talent», «knighthood and nobility» sere, with a predominance of love topics in their work – E. Ismailov [12]; «A wandering singer-musician», «their repertoire was distinguished not only by epic tales, but by artistic performances, in which jokes and sometimes costume tricks occupied a significant place» – A.Kh. Margulan [13, р. 71]; «Knighthood» of sere, adoration and «deification» of saly and sere, which were given «an honorable place above the elders – aksakals, biys, sultans» – E. Tursunov [14, р. 56]; saly and sere were called upon to define «youth culture» in society, their functions were not limited solely to entertaining ones, they, educating young people, formed their steppe etiquette – A.I. Mukhambetova [15]. But Tattimbet was not just sere. In his work, Tattimbet was an extraordinary person, combining a poet, singer, sera, a talented dombra performer and a wonderful composer.
There are many legends about Tattimbet and his kuiys. Some legends live in several ways. According to one legend, Tattimbet taught his horse Boszhorga to «dance» to the sounds of his dombra, performing his kui «Kara zhorga» («Black-headed ambler»). Another option, he even showed this number to the steppe governor-general, having received as a gift from the last umbrella [10, р. 165-166], with which Tattimbet then allegedly did not part (one can imagine such a spectacle: In the XIX century in the Kazakh steppe the rider is riding on a horse with an open umbrella from the sun). One of the legendary techniques was the ability of Tattimbet was to play on the dombra with his thumb. A.K. Zhubanov writes that Tattimbet played the kui «Bylkyldak» during the competition of musicians and finished it with his thumb of his foot [10, р. 167].
According to another legend, the music of Tattimbet, his dombra had a healing gift. A young 18-year-old musician Tattimbet came to the rich man Kushikbau, whose only son died. The aksakal was in a state of sorrow and did not want to live. Tattimbet sat on the threshold of the host’s yurt and began to play. According to this legend, Tattimbet played 2 days and 2 nights without a break, starting with mournful melodies, moved to life-affirming motives. The storytellers claim that Tattimbet played 62 kui, according to the views of the nomads, in man 62 tamyrs (veins) and, having played 1 kui, Tattimbet «revived» 1 tamir, «opening» the vital energy of the father killed by sorrow. Having played 62 kuiys, the young kuishi returned to life a man who lost meaning of it. Several variants of this legend are recorded by various authors.
One of the legends says about the musical competition of kuishi with a famous dombra player, where each of the performers played 39 kuiys. Tattimbet won, the conductor of the Karaganda Orchestra of Kazakh Folk instruments named after Tattimbet, Honored Worker of Kazakhstan A. Shakankbaev told: the kuishi removed shoes and played the last 40th kui with the big toe of the foot [9, р. 12]. Another version of this legend was given by Kakimbek Salykov. It tells about the creation of the kui «Sylkyldak» («Playful laughter»), and also connected with the story of the execution of 40 kui by Tattimbet. This story is known by whole Kazakhstan. Abai’s mother, Ulzhan had a younger sister Malkar, the daughter of bai Turpan. Malkar from a small age was known as a remarkable performer of Kazakh kuiys on the dombra, including Tattimbet. The works of kuishi were very popular and, as they said in the steppe, some of dombra player demanded a horse for training and transferring one of his kuiys. Two young musicians met at the Koyandinskaya fair on the musical aitys. It was the place where the akyns, musicians, poets are met; at the fair life boils, there was always a lot of interested public and spectators. The musical aitys passed between Malkara and Tattimbet, was played by 40 kuiys each performer, and Malkara was to repeat the played cui of Tattimbet, it seemed that she was not inferior in skill, but the forty-first Tattimbet performed the newborn kui «Sylkyldak». Malkar, who heard kui for the first time, was unable to repeat the author’s new kui and recognized her defeat. [2, р. 3]
Tattimbet’s kyu, composed by him, at a young age («Okshe kui», «Sylkyldak», etc.) allowed researchers of the musical creativity of kuishi to classify him as composer-lyric. Getting acquainted with various publications on the work of Tattimbet, we counted about a dozen different versions-legends about the creation of only one kui «Sylkyldak», which testifies to the huge popularity and legendary of both creativity and personality of the composer-kuishi. Tattimbet often performed with his works «Saryzhailau», «Balbraun», at the Koyandinskaya fair, his admirer was a good acquaintance of kuishi and the founder of the famous Varnava Bobov fair [16, р. 10].
From a young age, Tattimbet helped his father in administrative and judicial activities, solving complex issues of court cases. Being a fair bi and a respectable person, a generous person who helped those in need, Tattimbet won great respect from his fellow countrymen. He defended the interests of the clan in difficult times before the Russian administration. During the heavy hungry of 1840-1841, which led to the mass death of cattle among nomads, a number of volost rulers appealed to the representative of the empire administration, assessor of the Karkaraly district of Negovsky with a request to re-register the cattle (the census of cattle of 1840 did not take into account the case that happened later, in the winter of 1840-1841). The decision of the issue was delayed. Then in the summer, July 26, 1841, Tattimbet and Berdy Tlenchin appealed to the district order with a request to allow them a trip to Omsk to resolve the issue of Kazakhs in need of their volost. According to archival documents, they managed to go to Omsk and seek help [5, р. 82]. Responding to what happened, empathizing with these events, Tattimbet composes the kui «Nar Shokken» [12, р. 234].
A direct descendant of Tattimbet in the fifth generation – K.S. Musataeva told that Tattimbet, his sons and grandchildren were the most educated people of their region. Kuishi by himself made a hajj to Mecca and Medina, knew Arabic and Russian languages (in the archival documents of the Russian authorities it was written that he was illiterate and did not know the Russian language, apparently, was due to the knowledge of the letter in Cyrillic, and as for the Russian language, according to family tradition, Tattimbet may not be perfect, but he spoke Russian).
K.S. Musataeva told: «Kuishi loved books very much, at his house in a certain place, covered with a carpet, was a whole library of volumes in gilded binding. During the years of persecution all personal belongings of Tattimbet were lost» [17, р. 12].
Nature generously awarded Tattimbet with another talent. According to the legend Tattimbet was a hunter, jeweler, music master, making dombra, a weapons master; he perfectly owned a saber and a fighting bench (kamcha) [18]. Tattimbet was a hospitable host. In the diaries of the exiled pole A. Janushkevich remained records about his stay in the yurt of Tattimbet, where he and his companions stayed for 4 days.
Tattimbet and his family played the huge role in preserving and increasing the wealth and nature of the native land. Tattimbet played a role in the exploration of the minerals of the Sary-Arka. He had dating and connections with geologists and Russian merchants-industrialists. The economy development of the Sary-Arka was facilitated by the Tattimbet’s brothers. Kuttybet was engaged in breeding horses, including elite breeds. Researcher M. Gamarnik claims that he also went to the reception to the emperor and was awarded a medal. Yrsybet was engaged in the enlightenment of the region, invited mullahs from Tataria and Bashkiria for tribesmen.
Tattimbet and his first wife Akbope (Kalaya) had three sons – Musatai (1836-1920), Kysatay (Ksatay, 1838-1921), Isatai (1840-1960). Isatai was very talented but died at a young age (20-21 years). The first wife of kuishi died when the children were small and according to the legends, Tattimbet composed kui «Akbope» (but the researchers write that this kui was not preserved and did not reach to us). Later Tattimbet was married to a 17-year-old girl Yessim from the Bauyr Boshan clan. Becoming a real mother to the sons of Tattimbet, Boshan gave birth to a daughter – Saule, who inherited her father’s talent as a dombra player, but died at a young age of 16-17. The sons of Tattimbet according to the memoirs of countrymen were people with high moral foundations and spiritual purity, fair and possessed abilities. They carried out the hajj to Mecca and Medina, after that people called them «Qazhy». [17, р. 12].
The date of death of Tattimbet is 1859 and the following data on these circumstances is reported by researcher M. Beisenbaev [6, р. 128]. In the last years of Tattimbet’s life, a major lawsuit arose over the issue of free land not far from nomads. To find out the question, one of the officials goes to the aul of kuishi and tries to find him. But the aksakals of the aul inform him of the death of Tattimbet. A report dated June 6, 1860 arrives in the Karkaraly district order that «the former governor of the Nurbike-Chancharovskya volost, the centurion Tattimbet Kazangapov, who was also subject to interrogations in this case, died» [1, р. 104]. Another document says that instead of Tattimbet, B. Koisomasov was elected to the office of the volost ruler in 1859, his deputy was the son of Tattimbet – Musatai [6, р. 128-129]. But this document does not talk about the death of kuishi. There is a version of A. Seidimbekov, according to which the year of Tattimbet’s death is 1860 [19, р. 5]. According to the memoirs of contemporaries, Tattimbet was very ill before his death, did not get out of bed and could not take part in volost affairs. Researcher of the life and work of Tattimbet M. Gamarnik agrees with this date [1, р. 104]. The great kuishi Tattimbet was buried in the territory of the former state farm Arkalykskiy of Karkaraly district of Karaganda region.
The merits
Tattimbet the author of more than 40 kuiys of various subjects («Kosbasar», «Kokeikesti», «Bylkyldak», «Koramzhan», «Alshagyr», «Boz Aigyr», «Sary Ozen», «Boztorgay», «Balbyrauyn», «Zhetim Kyz» and others), in musical creativity affirms itself as a lyric poet. The debut kui «Sylkyldak» glorified the young kuishi throughout the steppe. In the kui «Sary Zhailau», clearly expressed philosophical sentiments about nature and life.
Art historians write: «According to the accuracy of musical thought, the perfection of the means of expressiveness and the scale of the composition, this work can be called brilliant» [1, р. 94]. His works are distinguished by subtle lyric, deep psychologism, exceptional figurative power. Even in his young years, Tattimbet created the kui an epic warehouse with the deepest philosophical meaning, proud bloating and thinking of a mature man («Kosbasar», «Alshagyr», etc.), which were polar different from his works of the style of the аuthor sere. Steppe rumor attributed the words to the 18-year-old Tattimbet: «I have absorbed the grief of all my people». In the works of Tattimbet, not only the local Sary-Arka tradition was reflected, it traced the musical traditions of other regions of Kazakhstan.
The kui of Tattimbet as a whole are amazed by a large number of performing techniques, the scale and monumentality of forms, the variety of themes, stories and images. Tattimbet was an excellent performer and improviser. In 1838 in Omsk, Tattimbet came to the meeting of the bi and was invited to the reception to the governor-general. He played his famous kui «Kosbаsar» at the meeting, demonstrated the amazing skill of the musician playing on the Kazakh dombra [20, р. 3].
Art critics are unanimous in that fact that Tattimbet is a professional musician of the oral tradition, whose work is the top of the Arkin School of shertpe-kui. «The difference is explained, by the special technique of the game inherent in the «Tattimbeta School». Silky, tenderness, trembling sound is achieved due to the fact that the sound is extracted not by a blow on the strings of the entire brush (tokpe), but by an elegant finger bulkhead with a tongs reception (wool), and both in one and the other side» [21, р. 355].
The kui of Tattimbet «outwardly simple, – as the musicians write, but with the jeweler’s accuracy of melodic drawing, elegant nuance and special technique of sound extraction are quite difficult for performance [21, р. 356-357]. The top of Tattimbet’s work is the kui – «Kokeykesti» («The Most cherished»), created in the last years of the composer’s life, according to the stories was composed in the last days of his life and dedicated to friends who came to visit Tattimbet. «The late kuiys were intonations of light sadness, some psychological concentration, subtle lyrism and restrained emotions of the open heart» [21, р. 361].
Tattimbet Kazangapuly served as the volost ruler of the Nurbike-Shansharovskaya volost of the Karkaraly district (1842-1854), famous for his high moral qualities, justice, and the ability to help others. There is archival evidence about his stay in the service: «the centurion Tattimbet Kazangapov, by rank, uses his personal nobility, but is not registered in the merchant guild. He was the ruler of the Nurbike-Chancharskata volost of the Karkaraly district from January 20, 1842 to January 25, 1854 and was dismissed from this position due to domestic circumstances following the request filed in the order on July 29, 1853, he was not under the trial and investigation» [22, р. 89]. According to other sources, Tattimbet was elected a volost ruler in 1844 and, after the death of his father in 1845; he was approved in office [22, р. 83-84]. There are documents written by Tattimbet and testifying to his desire to protect the Kazakhs from people suffering distemper or loss in trade.
A joint meeting of biys took place in Karakaralinsk on October 22, 1851, Tattimbet the father of Abay Kunanbay and others participated in it, after the meeting several volost rulers of the Karakaraly district (including Tattimbet among them) went to Omsk, which indicates a rather high reputation in the eyes of the Russian administration of Tattimbet, as a volost ruler.
Tattimbet belonged to that part of the Kazakh steppe elite, which understood the impossibility of open resistance to the colonization of the Kazakh steppes by the Russian state. Like his father, he accepts the military rank of the Russian army. In 1853, Tattimbet was awarded the title of cornet. Tattimbet as a member of the Kazakh delegation – 8 deputies of the Middle Zhuz went to St. Petersburg participated in the coronation ceremony of Emperor Alexander II in the winter of 1855. The list of deputies was quite impressive. «1. Advisor to the regional board of Siberian Kaisaks – Chingiz Ualikhanov. He speaks Russian decently». (Father of Shokan Ualikhanov). «2. Senior sulan of Akmola district – warrant officer Ibrahim Dzhaikbaev. He speaks Russian decently. 3. Senior sultan of the Bayanaul district – centurion Musa Chormanov. He speaks Russian decently. 4. The Sultan of the Akmolinsk district – Begaly Kunurkuldzhin. He does not speak Russian. 5. The meeting from the Kaisaks of the Bayanaul district – Shekerbay Malgeldin. He does not speak Russian. 6. The volost ruler of the Aleke-Baidalinsky – Akkoshar Kichkentaev. He does not speak Russian. 7. Bi of the Nurbike-Shansharskaya volost of the Karkaraly district – Tattimbet Kazangapov. He does not speak Russian. 8. Bi of the Esenbai-Karaul volost of the Kokchetav district – Chubek Baysarin. He does not speak Russian». [8]
Sabit Mukanov writes that Tattimbet got to this list as follows. Due to the rivalry of the senior sultans Kusbek and Zhamantay for a place in the delegation, they were both deprived of this opportunity, and influential Kazakhs nominated Kunanbai Uskembayev (Abay’s father) to this place. But Kunanbay was preparing for a pilgrimage to Mecca and refused to travel to Petersburg, offering Tattimbet instead. The latter had enough merit; his candidacy was approved. Now it’s hard to say whether it was so in fact, to determine historical is a fact or a fiction of the writer is difficult. But Tattimbet joined the Kazakh delegation and went to Petersburg.
March 23, 1855, Alexander I received a delegation. At the reception, Tattimbet performed several of his kuiys and was awarded: he was awarded the silver medal «Anna on the tape» for performing art, as well as for the administrative service, received the rank of centurion of the Russian army. According to family legends, the king was presented with a steel blade with an emerald on the handle and engraving «Kirghiz-kaisak Tattimbеt from the Sovereign Emperor» [17, р. 12]. Some of these royal gifts, according to the local historian Y. Popov, are kept by his descendants [8]. According to family legends told by K.S. Musataeva, Tattimbet was also at the reception of Nicholas I.
There are legends about Tattimbet, telling about his diplomatic activities. In his youth, following the instructions of Kunanbai (Abay’s father), he traveled to the Kazakhs of East Turkestan to negotiate the adoption of Russian citizenship in order to avoid the split of the Kazakhs into two parts in two states (the Russian Empire and China). According to legend, the kui «Alshagyr-Shagan» and «Koramzhan» composed by him reflect the events of this mission. Another mission attributed to Tattimbet is a trip to Kenesary Khan. According to legend, Tattimbet’s kui «Azina» («Crying») is dedicated to his tragic death.
Group photo «Know Turan». 1862 year. (Tattimbet second left in the top row).
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On this photo «Know Turan» is imprinted Tattimbet shortly before his death. Also, on the photo well-known among Kazakhs public figures. In the upper row, the first on the left is Khaliulla Oskenbayuly, Abay’s uncle; in the lower row (from left to right) sit the Aga Sultan of the Atbasar district – Erden Sandybayuly, Aga Sultan of the Kokshetau district – Chingiz Ualiulla (father of Shokan Ualikhanov), Aga Sultan of the Bayanaulsk external district – Musa Chormanov, Aga Sultan of the Karkaralinsk district Kusbek-tore.
Tattimbet was in his district an unrivaled connoisseur of ore deposits. Since the middle of the XIX century, the industrial development of the region begins. Russian merchants go to the Kazakh steppe for reconnaissance and mining plants are being built. With some of them Tattimbet was known with S.I. Popovym. Tattimbet received a certificate for the production of «gold fishing» in 1857. Tattimbet knew well that the industrial development of the region is inevitable in the future
The memory
The works and personalities of Tattimbet are devoted to books, poems, hundreds of articles, defended dissertational works (Gamarnik M. Ya., 1996). About him films were shot, one of the first about the life and work of Tattimbet – the television film «Strings of centuries» was filmed in 1968 by the Karaganda television studio. The Kazakh poet Kakimbek Salykov completed his work and published the poem «Tattimbet» in 1998 later republished several times. The great kuishi is imprinted in art canvases, sculptures and etc.
Mausoleum of Tattimbet.
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The descendants and fellow countrymen of Tattimbet do their best to preserve in historical memory the creativity of the great kuishi (K.S. Musataeva, T. Tumsupbekov, T. Asemkulov, A. Bragin, Yu. Popov, etc.). French historian Gzavier Alles examines the masterpieces of the famous composer, he convinced music publishers of the uniqueness of the creative heritage of Tattimbet, on his initiative and with his help in the world famous music studio of Paris «Buda Musique» an album with the works of the great composer was released [23].
The kuiys of Tattimbet is widely represented in the repertoire of all orchestras of Kazakhstan, plates and discs also are released. In honor of Tattimbet, a music school, a Philharmonic and an orchestra of Kazakh folk instruments in the city of Karaganda are named.
In the village of Yegindybulak there is a memorial stela monument (bas-relief), a memorial plaque; named streets after Tattimbet in the cities of Almaty, Karaganda. On the grave of Tattimbet near the village of Aktasta a mausoleum was erected in 1962. The Arkalyk state farm of the Yegendibulak district was renamed as a Tattimbet in 1990. In honor of the composer Tattimbet was opened a park of his name in Ankara (Turkey), March 11, 2016.
Referencesandsources:
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Author: Saktaganova Z.G., Doctor of Historical Sciences