Kurmangazy Sagyrbayuly (1818-1889) – patriarch of Kazakh folk music, well-known musician “kyuishi” and composer. Pioneer of instrumental music as known as “kyui”. Public figure and hero “batyr”.
Biography
The founder of instrumental music –“kyui”, which plays by musical instrument “dombra”, the famous composer – ““kuishi”” – Kurmangazy was born in 1818 in the family of batrak Sagyrbai in Zhideli, modern Kurmangazy district of Atyrau region. Born on the day of the celebration of Kurban-ait, in honor of the holiday, baby was named after Kurmangasy.
The life of Kurmangazy Sagyrbayev took place in 1818-1889. Such dating is confirmed by a number of established facts from the life and creativity of “kuishi”. However, based on the inscription on the monument constructed on the grave of the kyushi, it was believed that he lived in 1806-1879.
A person who researched life of an outstanding musician, academician Ahmet Zhubanov in his monograph about Kurmangazy strongly proved that in the production of this inscription there was a mistake, which strongly requires correction for 1823. Kurmangazy’s father Sagyrbai, was from the clan of Qyzylkurt, the genus of Bayuly the Younger Juz. After the birth of his second son in Sagyrbai ‘s family, he was named Baygazy.
Kurmangasy was a real prodigy, who since the age of 6, has learned to play virtuously on a small dombra that his father has made. However, due to the need and other life difficulties in the family, the parents were forced to send the young son Kurmangazy to graze lambs of rich people “bai”. Day after day, in a heat and stooge, he herded bai’s cattle and only at sunset crossed the threshold of the native yurt. A sensitive and interpreted boy not beyond his years, understood the difficult situation of his family and tried to support according to one’s lights. Looking after the lambs, he played a little dombra with passion, which became the only joy and inseparable companion in a difficult job. After extracting the chanting sounds from the strings of the dombra, the boy forgot everything in the world.
Because of Kurmangazy’s principle of being fair, honest, bai’s children sometimes resorted home in tears and beaten. However, his father did not approve his actions and was afraid that he would get into an unpleasant situation. According to the stories of his relatives, his father was a very meek and modest man. Kurmangazy was growing up brave courageous man with a strong constitution, and his mother Alka was involved in his upbringing. According to stories, Kurmangazy inherited a pull for music from his mother, in whose genus there were gifted musicians. She shared her son’s love for music, supported him, raising in him the best features of character – proud, adamant temper, faith in own power. Folk wisdom coming from the Kazakh proverb “a giant from a mother is born,” in this case was proved by his mother. Grown up, he continued to herd sheeps at the same bai Shagabal, always held a dombra and tried to live in his own way. He listened to melodic tunes of flute and worldly stories of herders.
With the coming of the evening, in his spare time he listened to the elder “kuishi”. A monotonous shepherd ‘s life weary of him, but one day luck smiled at him as well. A bright impression, which deeply excited his soul and influenced his entire future fate, was the arrival in the aul of the famous folk musician Uzak. Kuishi Uzak, famous for his mastery in the Bokei horde, heading to the aul of Shagabal bay, stops at the house of the Sagyrbay. With delight he listened to and watched Kurmangazy in the game of kyui, trying, exactly to remember ancient kuyi-legends, to take from the big master all subtleties of complex art of free improvisation. One day, the honorary elder Uzak-kyushi marked in Kurmangazy a special interest in music, asks him to play on dombra. Admired by the young man ‘s performance, Uzak kyushi predicts him a great future by giving him his blessing.
Kurmangazy, in search of a way out of poverty, took away the famous racehorse, a stolen horse at Aubakir bai from the genus Baibakta-Akbai, who for many years counted his father, without even looking at what violates Shariat laws and commits a criminal act like “Barymta”. In response, Aubakir bai forcibly takes Kurmangazy ‘s younger brother – Baigazi, from Shagabal bai, in order for him to herd his sheep. Sagyrbai had to move from his native land to the desert. It can be said that from this moment Kurmangazy began to be called “thief or “barymtashy”.
Over time, Kurmangazy gave up his job as a shepherd, and decided to devote himself to his favorite cause – music. After settling a stolen horse and packing a pine wooden dombra, he heads into the way in search of the domiciled dombra player -”kuishi” Uzak ata. Having found him, with trust and delight listened and looked into his game, trying to remember exactly the ancient kui-legends, seeking to take from the big master all the subtleties of complex art. Travelling through auls, meeting with many instrumental singers, he takes over their songs and kuis, exchanges experience and enriches own repertoire.
Learning the manner of playing the dombra from famous master dombrists in the Bokei Horde, like Blind Eschan, Sherkesh, Zappas Baizhuma, Baibakty Balamaysan and listening to their masterful works achieved his own perfection in playing the dombra. At the same time, he paid great attention to the stories of the kui, assessing their importance, refining his talent of playing on the dombra. At the age of 17, the young man leaved his native aul and becomes a free musician, travelling along the steppes with his teacher, meeting people, studying life and gradually gaining the glory of virtuoso. Many years later, the second teacher for him will be Dauletkerei, who will highly appreciate Kurmangasy ‘s musical gift and will help him.
Kurmangazy’s first works were simple in subject matter, form and way of expression of musical thought. These are the “kyui” “Bas akzhelen, Uzak akzhelen” and popular kui “Balbraun” (Honey mood), which conveys joyful, festive mood, fun and games of aul youth. Dina Nurpeisova said about the Kurmangazy’s work “Ұзақ-ақжелең” (“Uzak- akzhelen”), that “Uzak was the greatest master the performer, but itself did not compose kyuis. A given kyui «Ақжелең» by Kurmangazy was devoted to the mentor Uzak. Academician A. Zhubanov, based on the words of Dina Nurpeisova, said that: “Kurmangazy dedicated «akzhelen» composition to his mentor Uzak as a “thank-you kyui” for his work and role in his life, as the greatest master”.
As is known, in the late 1930s, a peasant uprising led by Isatai Taimanov and Makhambet Utemisov began in Bokei Horde. This movement was directed against the colonial policies of the royal administration and the injustice of the local bais and feuds. Representatives of the genus Qyzylqurt, including Kurmangazy joined the participants of the uprising against the colonizers and their sultans. Khan Zhangir brutally suppressed the peasant uprising, and violently began to prosecute and punish the active participants of the uprising.
Academician A. Zhubanov, who carefully studied the biography of Kurmangasy, writes on this occasion that for a reason:”…The entire genus of Qyzylqurt, including Kurmangazy, were under the control of first the provisional Council, then the Ural Cossack army, the legislative bodies of the Astrakhan region, the Orenburg Border Commission and the governor-general of Orenburg” [2.62]. The defeat, death and tragedy of the Kazakhs who took part in the uprising, left a deep wound in the soul of Kurmangazy.
Under the impression of the popular uprising of the Kazakhs of the Bokei horde (1836-1838), the witness of which was Kurmangazy, one of his first kyui “Kishkentai” (“The Younger”) was created, which became a majestic anthem of acts of heroes, transmitting his dismay that could not stand in the ranks of the rebels because of the young age, but reflected all the pain of his people. Kyui “Kishkentai” is its peculiar musical monument, which embodies both heroic images of the leaders of the popular uprising, and deep sorrow caused by their loss, and passionate impulse to fight, and faith in a bright future. Despite all the unusual, there is no difference in the Kazakh intellectual music known before it, kyui strikes listeners with the epic, true folk character of artistic images” [3].
Kurmangazy was deeply honored and bowed to the memory of Isatai and Makhambet, dedicating his kyuis “Kishkentai”, “Zhalyn “and songs to them. Naturally, the rebel kyuis of kyushi were disliked by the rulers of the steppe, which interfere them with establishing “order”. Thus, we are convinced that Kurmangazy began to create his brilliant works under the bright impression of the social explosion, which shocked the Great Steppe and deeply excited the soul of the future patriarch of Kazakh music.
The famous kyui “Adai” expressing the rebel and belligerent spirit of the ancient Kazakh genus Adai, occupies a special place in the work of Kurmangazy. This kyui has preserved not only the belligerent, rebel spirit of our people, but the rhythms of the rapid leap and the special energy that elevates the spirit of the people. The composer’s kyui, like his subsequent creations, became for the people a banner of struggle and a symbol of freedom. Kurmangazy sang in the language of Dombra the heroism of the people from Aday tribe, the tireless spirit of freedom. Famous kyushi Lukpan Mukhitov, Kali Zhantleuov, Okab Kabigozhin and Dina Nurpeisova were the first to perform “Adai” and prepared for performance by the orchestra.
Academician A. Zhubanov, who highly appreciated the kyui “Adai”, noted: “…Adai is one of Kurmangazy’s greatest works. It’s immortalized and present in people ‘s blood for a huge reason. “Adai” has a sharp language inherent in the great artists of modern times and has great sensitivity. As an example of the literary world, “Adai” is a bright poetry characteristic of Makhambet Utemisov. Adai sounds like the motto of freedom. Kurmangazy, showing folk dreams in a given kui made it clear in the musical language that “the people are the lord” [4, p. 73.].
One of the most famous works after “Adai” is the kyui “Serper”, dedicated to the thoughts and aspirations of the people. A. Zatayevich, who wrote one of the variants of “Serper” for notes, highly appreciating it, notes: “Undoubtedly, Serper is one of the best kyuis of Kurmangazy and one of the best in my collections” [5, p. 300]. Makhambet Bokeihanov, Bokei ‘s famous dombrist performer, a follower of the Bapas tradition asked A. Zatayevich to record “Serper,” at the same time kyushi Okab Kabigozhin, presented a complete, improved version of “Serper” to the all-Kazakhstan Dombrist Competition in 1934. In Serper ‘s version, which was performed by Okab there are a variety of melodies, from the sounds of the base horse hooves, to the multi-voice of the horsemen, their singing of solemn victories. Researchers rated “Serper – as the winning epic of “batyrs”. Dina Nurpeisova brought one of Serper ‘s variants to Almaty in 1937.
Kurmangazy’s life was devoted to the fight against the rotting arbitrariness of bais, corrupt officials. It is clear that the “rebel” kui transmitted by the people, which is called, from mouth to mouth, the power of the people were not pleasant for rulers. After applying a tried-and-tested method of false donation, accusing him of conocradity and vagrancy, Kurmangasy was indefinitely arrested and jailed. Thus, for example, the son of Shyman-tyure – Zhansha, once opposed to Isatai and sent to exile in Siberia his 14-year-old son Jakia, began to pursue Kurmangazy. One day, Kurmangazy, who sat peacefully on the “toi” playing on the dombra, was attacked by Zhansha ‘s men and sent to Ural prison on false charges of conocradity, qualifying as “thief-barymtashy”. Brave kyuishi, having shown resourceness escaped from prison. Returning to his native lands, he took away a famous horse named Aksur, from Kemel tyure, known for his cruel behavior towards the common people.
More than once Kurmangazy, despite his old age, found himself in the prisons of Uralsk, Orenburg, Omsk, at the same time did not stop creating and giving the people not just new kui, full of pain for his future, but giving a new hope, inspiring further fight for freedom.
Having decided that on the land belonging to Bokei Khan he will not have peaceful live, Kurmangazy passes through the forbidden bridge “Taskeshu” in the river Zhaiyk and went to Mangistau region. Wandering through the mountain plateau of Ustyurt, creates a kui “Manata”, a magnificent composition reflecting the uniqueness of nature, a wonderful view of the mountain peaks of this area.
In the 1850s, missing his native edges and his parents, the young kyuishi, sailing the river Zhaiyk, returns to his native aul. After seeing his aged, exhausted due to difficult living conditions, he was stunned. In order to deal fairly with the repayment of Aubakir bai’s debts to his parents, Kurmangazy seeks a meeting with the bai, but the bai does not think to repay the debts and tries to apprehend him with his employees. Kyuishi asks him to listen, arguing that “the head can be cut off and the language cannot.” Then Aubakir bai, in an arrogant pose, allows him to speak. Kurmangazy told:
“Abeke, I am not lying, God is a witness.
I didn ‘t steal any of your racehorse.
Go out one-on-one without piling,
If I die in a fight, there is no more dream! “
Aubakir did not listen to him and orders his men to detain Kurmangazy, but the dzhigites are hesitant to step up to him because of his strong fists. Kurmangazy, with the help of his horse Aksur, hides from them and returns home. However, Aubakir’s stubborn bai with nuptials comes to him and ties him up, then, shackled, takes him on foot to the Ural prison. In September 1857, the authorities incarcerate him in a prison casemat at the Khan rate in the Naryn Sands, where he gets to know Lavochkin, a Russian worker convicted of insulting the Russian Tsar. Thanks to his good knowledge of the Kazakh language, they quickly found a common language. Kyuishi told a prison friend about the sufferings, that his mother had endured because of his detention, and teared up becoming upset. In response, his mother slapped him with the words: “I thought I had given birth to a son, and he turned out to be innocent”. Impressed by the story heard, Lavochkin also shared with his experiences that he was unable to care for his mother, being constantly in references and persecution. The next day, Kurmangazy took his dombra brought in by a prison supervisor with Lavochkin’s help. His sadness and sorrow expressed with inspiration by the strings of dombra. In the name of the noble mother who inspired him, he decided to call the work “Қайран шешем” (“Oh, my sweet Mother”), which creates the image of a courageous, persistent woman – mother, as well as the thoughts of a prisoner, missing will and hoping for freedom. Thus, we know that the famous work, which occupies a special place in the history of Kazakh art of kyui, was created in prison.
In general, the works created by the great Kurmangazy introduce us not only the biography of the great composer, as well as to the history of people of that era, social relations of that time. Kurmangazy did not wait for his fate to be managed and escaped from prison at night, cutting the grate. So, well-known kyui «Түрмеден қашқан» (“Escape from prison”) was history of escape from prison. The mother of prisoner Lavochkin comes to prison to visit his son and brings him food, as well as sweet cakes, inside which he lays a fragment of steel saw. The two prisoners cut their shackles all night. The sense of freedom inspires Kurmangasy to create a new work. From the beginning to the end in the kui, there is a rhythm of the clattering of racehorses. The speed of this composition is so rapid that it is difficult to accompany even famous dombra players performers and specialized chamber of orchestras.
One of the most elegant compositions of the great composer, composed in the impulse of inspiration, is the kyui named «Лавочкинаға» (“For Lavochkina”), dedicated to the mother of a prison friend, whom he called “Laushken.” Kurmangazy couldn’t spell the letters of the Russian language “v” and “ch”, therefore the work became called «Laushkenaga». Kurmangazy, having escaped from prison safely returned to his parents. Having decided in the future to live calmly, honestly, but afraid of persecution, he began to work at bai Kulman in the far aul, hiding the name of his father, under the name of the son Bazarbai. For this reason, there was some confusion with his father ‘s name.
Kyuishi worked quietly and discreetly for two and a half years, taking care of his parents. Kulman bai have given him a horse for his work, which was grown into a good racehorse, repeatedly winning at horse races. The news of this reached to Aubakir Akbai, who sent two of his jigits to him with an order to take away the horse, with the words: “Where did beggar Kurmangasy take racehorse? Probably he stole it from someone. Pick up the horse from him, if he comes to look for it, we will show him!”. In a result, Kurmangasy repels these two fighters and drops them from horses with the words: “Tell seen and heard to Aubakir, “
In a rush of rage with what happened, kyuishi creates a new work, performing it among friends and parents. According to academician A. Zhubanov, the history of the origin of this kui was as follows: “The mother of “kuishi” – Alka, sitting among relatives, says: let the kui be named after the father of Aubakir Akbai, who was bugging us for many years. For debt to your father, for your humiliation, let the people learn the true malicious face of Akbai through the language of dombra”. The public unanimously approved the name “Akbai”. Thus, appeared the composition “Akbai,” which enriched the Kazakh treasury of kui [6.78].
During this period the famous work of Kurmangazy “Аман бол, шешем, аман бол!” (“Goodbye, Mom, goodbye!”). Kurmangazy decided to temporarily escape the persecution of Aubakir Akbai, who found out the background of the “Akbai” kyui. Before his departure, taking dombra, he passionately performed the kyui. Undoubtedly, the gathered friends, immediately guessed the content of this kuyi, without even asking, because the language of the melody whispered: “Goodbye, mother, goodbye!” Kurmangazy before his departure composed another work “Ертең кетем” (“I am leaving tomorrow”). The saddest thing was saying goodbye to mother. In the kui “Аман бол, шешем, аман бол!” (Goodbye mother, goodbye), Kurmangazy expresses not only frustration and despair, but protest against social injustice and ups and downs of life. In these works, the skill of kyuishi is refined, the language of kui becomes filled with grace and tranquillity. According to legend, Kurmangazy stayed on the coasts of Zhaiyk and Zhem, with the bride Aues, matched by his mother at Esenkul Berish Igilik, lives in his aul for several days, and leaves, trusting his wife and parents to a distant relative and friend Jalel.
At the beginning of the 1850th years, Kurmangazy goes to the left bank of the river Ural, visits the aul of Toremurat, Oten, Narynbay batyrs, getting closer to them as with blood brothers. Kurmangazy shows himself not only as the master kyuishi-performer, but as the athlete, restler, the excellent shooter, the soldier, who skillfully wields a spear. At the same time, “kuishi” left unforgettable memories of historical events witnesses of which he became, singing them in the language of melody, and having immortalized them for ages. Kuis, which glorified a name of the composer as “Қыз-Данайдың қырғыны” (“Tragedy of Kyz-Danay”), “Төремұрат-Нарынбай” (“Tyuremurat-Narynbay”), “Бозқаңғыр” (“Gray strumming”), “Ақсақ киік” (“A lame saiga”), “Балқаймақ” (“Cream”) were born in trip time. “kuishi” longigly remembers this days and with words of Bala Uraz sang a tolgau:
“Toremurat, Narynbay.
Oten – my batyrs.
When there are my batyrs,
I did not concede in honor, [7.96]
Also was not given in slave humility”.
Kurmangazy pleased parents having arrived home safely. He was full of determination to remain, caring for parents. However, failures pursued him, and in 1857 he was sent to the Orenburg prison again. Physical sufferings from the broken roads intertwine with mental anguish, in a result he created a new work “Арба соққан” (“Jolting of the cart”), “Don’t shout, be quiet”. It is known that from archive materials, during the imprisonment in the Orenburg prison, Kurmangazy composes kyui ” Perovsky march” and performs in an office of the governor general Perovsky. The truthfulness of the fact, that Perovsky was so impressed by Kurmangazy’s talent that closes investigation and grants freedom for a kyuishi. It’s confirmed by the words of “kuishi” about the history of kui “Кісен ашқан»” (“Release from fetters”).
After long stay in prison, “kuishi” made the decision to run off and remembered about a piece of the steel saw given by Lavochkin’s mother, hidden under his footwear’s insole. Having sawn a part of shackles, returning after corrective works, pretends that limps and lags behind crowd. With nightfall, having waited for time, he hides under bushes. Getting rid of shackles, will strongly wound a leg. Then, several days he rests in bed in the house of the shepherd at the Zhaiyk river. Having taken a dombra from the host, performs some kyuis, creates new kyui. About history of creation of it, he told the following: “When I sawed shackles, the wound opened and hurt, and I could not neither go, nor lie, then these motives welled up… I want to call it “Кісен ашқан” (“Release from fetters”).
The academician A. Zhubanov telling about kyui “Кісен ашқан” (“Release from fetters”) notes: “This kyui was transferred to A. Zatayevich by N. Bukeykhanov, in 1935. Nausha performed it to us in another way. The version which was written down by us, at the same time is volumnious and rich, this version was offered for execution by orchestra and is still executed by them. “Кісен ашқан” (“Release from fetters”) from beginning to end goes as a threefold quarter, with deep philosophical meaning” [8. P. 35].
This assessment of the academician is fair, defining and establishing the truth concerning the second version of the work, which is written down by A. Zatayevich, where to the identity of the great composer unworthy words are unfairly cited.
The creation history of kyui “Қызыл қайың” (“A red birch”), is connected with his escape from prison when being afraid of a pursuit, he hides under bushes of the only birch growing in the steppe. Before execsution of this work, a kyuishi, in deep nervousness, says: “My country, my earth, my grass, my tree – all of them are my shelter. This kyui is about a birch, which sheltered me among the branches, and covered from a pursuit. This kyui is about the native steppe, about the nice jigits of my people who opened to me the embraces and saved me from black death”.
Kyushi without hurrying, having reached the native land, stopped at the house of the friend Dzhalel, began to ask about the house. His friend did not know how to report about a mournful message about his family. Having heard that the father Sagirbay died two months ago, and three days ago his wife Aues and her crawling baby was taken away as hostages by soldiers-escorts to Orenburg. Kyuishi with grief in heart, sat down with the hung head. Kurmangazy, experienced lot of grief in his life, quickly recovered and having plucked up courage, left the house of the friend. So, kyui «Buktym – Buktym» (Bent and bent) appeared.
Wishing to save the family he came home in the late night, where his mother meets in full grief and a sadness. Kurmangazy, in a condition of full exhaustion and powerlessness, takes the dombra in hand and composes kyui, having devoted it for the death of the father and for beloved mother. Kyui under the name “Alka” has come down to our days. Saving family with the help of the friend Dzhalel, he captures two horses at bai, goes to the pass where soldiers on a lodging for the night stopped. Having waited when soldiers, tired of the road, fell asleep, gave signs to the wife Aues with conditional whistle . This time, kyuishi demonstrating his experience, having taken weapon, disappears with family in the dark. Having reached the native land safely, kyuiyshi composed kyui about this trip «Бұқтым-бұқтым» (“Lurked-lurked”). The history of this work, is based on a ridiculous, ironic note, than its early compositions where everything is difficult and sad.
Significant event in Kurmangazy’s life was acquaintance with well-known “kuishi” Dauletkerey, when they together enjoyed short, but carefree life. At the beginning of the 1860th years for management of a genus Qyzylqurt and nogays, son og Shigay tyure was appointed, whose arrival to these edges was favourable for Kurmangazy. In spite of the fact that between Isatay-Makhambet’s supporter, the rebel character by nature, Kurmangazy and their sworn enemy, the son of Shigaya tyure, the younger brother of the Bukey khan, Dauletkerey, there were many disagreements, nevertheless, thanks to art force, they approached and became friends. After a while, Dauletkerey having put an administrative position, joined Kurmangazy, became the performer of kyuis. On one of trips, they come to the aul of the known dombrist Ayzhan who welcomes dear visitors with big care and attention. She executes the famous kyui “Айжан қыз” (“girl Ayzhan”), and Kurmangazy, having taken a dombra, executes a new melody. One of listeners, the well-known kyuishi Bapas told:
“Kureke, have we heard this kui before, what is it called?”
“This kyui I dedicate to the nightingale-girl Ayzhan” said kyuishi.
– Bapas kyuishi said: “Then let the name of this kyui be «Айда бұлбұл Айжан-ай» (“Hey, nightingale-girl Ayzhan”).
To be sure, for Kurmangazy, tired of wandering, endless persecution and incarceration in prisons, the time spent with Dauletkerei, Bapas and Ayzhan was the best time of his life.
In 1866 he was imprisoned in the Ural prison, from where he is struggling to be released after a year. But soon again he was imprisoned in Urkyut prison, where he is subject to strict control and surveillance through the window and doors. Still, one of the prison caretakers gives him an old dombra. Performing his works in front of the prisoners, he derides his wardens, composes the kyui “Терезеден, есіктен” (“From the window, from the doors”). The warden named Sergei likes the art of Kurmangazy, he often began to hold a conversation with kyushi, asks in detail about his life. Kurmangazy, having befriended him, tells about his intention to flee from prison and asks him to help. Sergei helps to escape from prison by hiding for two days in a friend ‘s house, and tells him in what direction to move, what to fear on the way and supplies with old clothes. Having passed on foot along the route specified by Sergey, almost all the territory of the Kazakh steppe, crosses the river Irtysh, passes through Saryarka, white and blue mountains of Alatau, safely reaches the house in integrity.
Having survived skits, insults and persecution, kyuishi creates musical works such as “Alatau” and “Sary-Arka”, which reflected the deep thoughts of the people about independence and freedom, love for their land, which became symbols of beauty of the Kazakh steppe, Kazakh music included in the gold fund of musical art, also tell about the birth of these kyuis on a long and painful journey.
It seemed that Kurmangasy, exhausted from a difficult and long-suffering life, began a calm life, but such a life did not last long. From the Astrakhan governor-general comes an urgent summons, which gives birth to another work of the composer “Побескі” (“Summons”). By the order of governor-general Kurmangazy was imprisoned in Astrakhan prison, where he gets acquainted with Saranzhap, the famous kalmyk batyr with whom they escape from prison. About two months they stayed undercover in the house of kyushi and educated man Ergali Eshzhanov near Astrakhan. Kurmangazy was the idol of Ergali, and he wished kyushi to be his mentor, teach to play dombra and perform his works. By studying Kurmangasy ‘s new works, he improves his skill. Before departure to the homeland, Kurmangazy composes a new kyui called “Saranzhap”, dedicating the composition to his friend with the words: “Let this kyui be a reminder of the days when you and I were together.
“Considering, the danger of homecoming as the almighty governor-general can back return him to prison, on the advice of the friend Ergali, Kurmangazy goes to ask protection from Makash, knowing Kurmangazy in absentia. Kurmangazy having lightened, addressed with the request, having executed a recitative “Торға түскен боз торғай – шырылдайды күнінде” (“A lark, having got in a trap – chirps by day”). Singing the long speech, told:
My age is more senior than sixty,
I live the life.
Did not enjoy life,
Could not soar as a birdie,
Over the lake native.
Wanted to take vengeance on enemies,
Having armed with a gun on a waist.
There was no noble Dzhigit
To be a support,
Unless it is not surprising in my country?
On false charge of the enemy
Again, got to an imprisonment.
Trapped.
I came to you
Behind your decision? “[9. P. 121].
Valuable data from his life are provided in more long speech of a kyuysha. In particular, it allows to correct some delusions concerning his mother and family. For example, it is necessary to consider data below:
You became a governor being an ordinary person,
Your ruling is known to the simple people.
Mothers of my feeding breast eighty-three,
Where to her to go life to live.
My relatives looking for daily bread
Wanders from the place to the place my children.
Involuntarily I wander on the world,
Asking your protection” – [9. P.121-122].
Data that Kurmangazy was born in 1806, and his mother, Alka, died in thirty days after the birth of his child [5. P. 56] distort the truth. The governor Makash listened to the speech of unhappy kyuishi about his sad and unfortunate destiny. Next day he went to the general-governor to convince him: “Kurmangazy will do no harm any more, and I will be his guarantor” – he was given “the white passport” that he won’t be pursued any more”, – the academician A. Zhubanov writes.
In the early eighties great kyuishi reached the native land with joyful news, and by the advice of the governor Makash, moved with family to Zhideli’s natural boundary in Sakhma, and then spent the rest of the peaceful life there. After disposal of Kurmangazy’s prosecutions, he goes to Beketay kum, saying: “The age goes, it is necessary to take a look to the native land”. It was near 1888. Last time meeting with his favourite pupil Dina, for several days they play on a dombra and say goodbye. Two memuar from of the last years of life of great kyuishi relate to this trip. After the meeting with Dina, he finds the old friend well-known Kashagan Zhyrau, and together with him within several days drives auls and stops in the house of the lime mullah. His work “Боқтағаның қай ағаш” (“At what tree you swore”) is the unique legend, the legend about Kashagan zhyrau which appeared as a result of this trip, became a big finding in the world of art. One of his first listeners became Kurmangazy thanks to whom, it became a world-famous masterpiece.
Composition “Көбік шашқан” (“A storming shaft”) – the greatest work by Kurmangazy, reached us following the results from this trip. Kyui was written down for orchestra performed by M. Bukeykhanov. History of appearance of the composition is connected with Kashagan zhyrau, devoted to death of fishermen in the Caspian Sea, was one of epic verses. The poem “Көбік шашқан” (“A storming shaft”) is impossible to perceive just as kyui, it is really great poetic “Poem” which in the power of a bichord dombra, is perceived by us, causing sublime and heroic mood. It is known that after moving with family to Sakhm’s area, great kyuishi passed the last years of life quietly and peacefully that is reflected in his works as “Demalys” (“Rest”) and the “Result” disclosing the importance of his creativity, a way of life and mood of a kyuishi. These works are the final outcome of long and difficult life of the great composer. In the fall of 1889, after a short disease he died in the area “The shaitan bata” (“Devil blessing”) of the Astrakhan region and was buried in the village of Altynzhar of present Volodarsk district of the Astrakhan region of Russia.
Merits
Kurmangazy Sagyrbayuly – the national musician, the composer, who lifted the Kazakh instrumental music to world level, enriched tradition of execution on a dombra with new genres, images and performing receptions. The developed large-scale forms of kyui in which the full range of sounding of a dombra is covered and also – the prompt rate, dynamics and activity of development are characteristic of it. Kurmangazy’s kyui transfer thoughts, moods and dreams of the people, in sounds of its melody it was possible to feel beauty and breath of the Kazakh steppe. In spite of the fact that he had no vocational music education, he managed to create the peculiar, original performing style which is masterly transferring strong spirit and inexhaustible creative force of the people in musical language.
Top of his creativity became well-known kyui “Sary-Arka, drawing a picture of boundless open spaces of the Kazakh steppe. The receptions of a game on a dombra inherit only to him, which in many respects anticipated the musical equipment of that time were carefully adopted and developed by his pupils and followers. M. Utemisov, D. Nurpeisova, E. Eszhanov and others became bright representatives of dombra school of Kurmangazy.
The great composer left behind him rich creative heritage, created school of pupils successors of his creativity thanks to whom the heritage of great kyuishi became spiritual and cultural property of the Kazakh people. Kurmangazy is a legendary personality, who became mega personality, the man-mountain. Kurmangazy was known as a person with strong, if to tell in his own words “… Kurmangazy will never give up and won’t reconcile with destiny”.
Famous kyuishi Dina Nurpeisova, talking about her favourite teacher, says: “I saw with my own eyes, the brave son of the nation and the great composer Kurmangazy. In the last twelve years of life he was my good teacher. Kurmangazy was a bold, broud-shouldered, well built man with bright brown eyes. Long hair that reached a man’s embrace, a dark black mustache showed him to be a majestic brave. There was a distinctive sign on his neck behind, similar to a winged mural. People seeing it called him “greasy Kurmangazy.” This name became well known to West Kazakhstan [10 p. 62-63].
About his performing skill, composer art there are memoirs records of Ural writer and poet N.F. Savichev (1821-1885), a friend of Taras Shevchenko, where it is said:
… “Mr. B., I was introduced to the first artist, the performer on the dombra Kurmangazy Sagyrbayev, who became famous for the whole Bukei Horde, and he raised my mood. He turned out to be a medium-growing man with a shining face, modestly dressed, polite, a little like a Tatars. He took his dombra hanging on the wall without much delusion. It was an instrument – with a long neck, two string like an elegantly decorated ballpark. It should be said that the owner of the house himself is also a musician, violinist and guitarist, very well plays on a ballpark and dombra. Kurmangazy quickly adjusted the dombra, slightly lowered his head and immediately began to play, and the sound began to spill. At first I was surprised and then I was amazed by his performance on the dombra. I didn ‘t expect such a poor two-string instrument to create anything like music, but it was the power of human musical ability, so as a dombra the purest music sounded. Although, judging by the melody it characterized kyrgyz origin, but it can be compared to exemplary musical compositions, because the gift of Sagyrbayev ‘s performance comes from the same source – talent and inspiration. I would like to say that his performance on the dombra is like a silver jawring or he is poured like a nightingale, but despite the simplicity of the instrument that slows down the speed of the artistic imagination, and this comparison is too simple. He plays the dombra with zeal and enthusiasm, and then his right hand creates many stage representations, and his face shines brightly, but the movement of his hands is not as rhythmic as the grace of his performance; As for his face, it is frowning, but it is not something that can be invented in advance to arouse interest, and his feelings are natural as truth by nature, and it very much goes to an Asian artist. He performed several of his compositions composed by himself, and they immediately make it clear that he is the most talented composer; Additionally, he performed a composition processed for dombra – ancient dance music, which was transmitted from generation to generation of Kyrgyz. I expected to listen to something like a fan, but it was a wonderful adagio. Summing up, it is possible to say that Sagyrbayev is a rare talent, and if he received a European education, he would be a bright star of the musical world… «[11. P. 37-38].
Expressing words of gratitude for this assessment of the Russian critic, we turn to the words of the writer A. Kekilbayev, who reflected on another aspect of this statement, he said: “Overall, Kurmangazy is a great talent, but if he would not live his life in the environment where he lived, even if he received a European education, as that Savichev said, would hardly be Kurmangazy a phenomenon, an epochal personality, as we know him now?” [12.226], our response, to such a question “certainly could not.” After all, the question is not to be dominated only by acquired knowledge.
The name of Kurmangazy as a true Master of Musical Art, the author of amazing kuei was known in the vast Kazakh steppe in those days. There were many talented kyuishi composers who gathered around talent and refined their skill performing his works, became his disciples. There are many talents that brought to academician A. Zhubanov and our times facts from the life of the great kyuishi and his incomparable works. It is possible to list such famous kyuishi composers who saw and communicated with the great kyuishi as Dina Nurpeisova, Ergali Eschanov, Mendigali Suleimenov and Mamen. Kurmangazy had many other students besides them. Students of composers such as Kokbala, Sugirali, Menetai, son of Alabama Kali, Togatbai, Menkar, Shora, those who themselves were students of Kurmangazy distributed works of kyushi performing his kyi. The work of such his disciples, who have given the great legacy of the great composer to the next generation, is invaluable.
The high rating of B.Z. Turmagambetova, a candidate of art history, shows the source of unusual strapiness and ambition in Kurmangazy ‘s works: “We see that Kurmangazy ‘s high spirit and powerful power is combined with majestic dreams of skill and fairy tale” [13. P. 259].
Kurmangasy’s main achievement was the fact that he brought the epic tradition in the art of kyui to a legitimate climax. The rich heritage of the great kyuishi is an opportunity given in the creation of a new tradition and a new form in the Kazakh kyui by improving the traditional Kazakh kyui.
Kyuysha A. Toktagan in the researches declares it: Each of кюев “Ақбай” (“Акбай”), “Кішкентай” (“Small”), “Көбік шашқан” (“A storming shaft”), “«Кісен ашқан»” (“Release from fetters”), “Түрмеден қашқан” (“Escape from prison”), «Төремұрат» (Tyuremurat”), «Сарыарқа» (“The gold steppe”), “Serper”, “Saranzhap”, «Бозшолақ»(“A gray horse”), “Car” holds a specific place in the Kazakh musical culture the unprecedented special forms”. [14. P.276].
Memory
Kurmangazy Sagyrbaiuly was an outstanding dombrist, composer, who is rightly proud of the Kazakh people. His creative heritage has about 60 kuyis. The name of Kurmangazy is named Kazakh Orchestra of Folk Instruments, Kazakh State National Conservatoire, Palace of Culture in Atyrau, music college in Uralsk, as well as streets and avenues in many cities of the country, names of districts and villages of the republic. In his monograph “Kurmangazy,” academician A. Zhubanov justified the scientific and theoretical system about the great kyuishi. At the state level, the 100-150-200-year anniversary dates of the great composer were celebrated.
In the Astrakhan region of the Russian Federation together with the akimats of West Kazakhstan, Atyrau, Mangystau regions of the Republic of Kazakhstan, a mausoleum was built and an Interstate cultural center named after the composer was created, which became a place of pilgrimage of admirers of the talent of Kurmangasy.
Monuments of Kurmangazy were constructed in Nur-Sultan, Almaty and other cities. Republican competitions named after Kurmangazy are held. The great composer ‘s kyui are used in many opera, symphony compositions and performances.
According to data presented by centuries-old studies and creative searches of academician A. Zhubanov and his students, about twenty kyuis were decorated for performance by the orchestra. But, the opinions of art historians about the number of his works that have reached the present day are ambiguous. In the book of academician A. Zhubanov Kurmangazy Sagyrbayev, published in 1978 in the publishing house Zhalyn, there are 51 kuis [15. P.363-364]. Academician A. Zhubanov in the monograph “Kurmangazy” for the first time systematized, scientifically analyzed the life and creativity of the poet.
Professor K.S. Saharbayeva writes, then about 81 kyuis, then about 100 kyuis. [15 P.165-167]. It is said that there are about ten kui dedicated to Mangistau alone. The great Kyuishi, who left behind such a rich heritage, is respected and honored by Kazakh people. At the end of the 19th century in the novel called “Sary-Arka” (“Golden Steppe”) of the Russian writer Gennady Pavlovich Vasilyev it was written: “The main figure of the novel Kurmangazy Sagyrbayev. His bright image the writer draws in warm, pastel tones “[16. P. 540].
In 1870, Kurmangazy ‘s contemporary, Yesim Aichuakov, dedicated “Zhaldykara” to his teacher. The 20th century was the century when the founder of kyui was recognized by the whole world. Subsequent researchers, following the academic ‘s scientific findings, have published many works. The poet Hamit Ergaliyev wrote a poem called “Kurmangazy” [17, A poem of two sections], and created a literary image of a great man. Its rich heritage is widely popularized in orchestras, Kazakh stage art, cinema. Kazakh Orchestra of Folk Instruments and Kazakh State Academic Orchestra of Folk Instruments, Kazakh National Conservatory have been working in Almaty since 1934. More than 20 kyuis of the composer is performed by the orchestra in these temples of art. In Atyrau Palace of Culture, in Uralsk music college bear the name Kurmangazy. In many cities and settlements, the country is named after Kurmangazy streets and avenues. Republican competitions Kurmangazy are held every three years.
Kyui “Saryarka” (“Golden Steppe”), recognized as a classic work at the International Music Rostrum in 1973, and recommended for performance in the UNESCO communication system. Thanks to Kurmangazy ‘s works, the whole world learned about the music culture of Kazakhs. The works of Kurmangazy Sagyrbaiuly, which brought the classical genre of kyui to the world level, were devoted to the inexhaustible spiritual wealth of the independent Kazakh state. [16. P. 296].
“Our people have always kept Kurmangazy in memory, transferring them from generation to generation,” – said elbasy N. Nazarbayev, speaking at the opening ceremony of the monument to the great folk composer Kurmangazy Sagyrbaiuly in Astana on July 4, 2012. “His kyui “Sary-Arka”, that is – “Golden Steppe,” where we have now built the capital – is known to all, today ‘s world. He understood the history and culture of the Kazakh people of the 19th century.” N. Nazarbayev said. [17].
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17 https://www.zakon.kz/4500679-nazarbaev-prinjal-uchastie-v-otkrytii.html.
Author: Daulethkhan A., candidate of historical science.