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Kurmangazy Sagyrbaev

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Kurmangazy Sagyrbayuly
1998 Kazakhstan stamp, for the 175th anniversary of his birth
Born1823
Zhideli village, Bokey Orda District, West Kazakhstan Region
Died1896 (1897) (aged 73)
Astrakhan, Russian Empire
CitizenshipBukey Horde
OccupationComposer
Notable work"Sary-Arqa"

Kurmangazy Sagyrbayuly (Kazakh: Құрманғазы Сағырбайұлы, Qūrmanğazy Sağyrbaiūly; 1823–1896)[1][2] was a Kazakh composer, instrumentalist (kobyz, dombra), and folk artist.[3] He influenced Kazakh musical culture. He was born in 1823 in the Bukey Horde (now Zhanakala District, West Kazakhstan Region). He is buried in the Astrakhan region of Lower Volga in today's Russian Federation.[4]

Biography

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Kurmangazy was born and raised in the Bukey Horde, in what is now Zhanakala District, West Kazakhstan Region, in a place called Zhideli. His final resting place is in Astrakhan Oblast, at a site formerly known as "Shaitani Bataga", which is now called "Kurmangazy Hill" in his honor.

Kurmangazy Sagyrbaiuly's origins trace back to the "Kishi Zhuz" (Junior Horde) of the Kazakh people, specifically to the "Sultansiyk" branch of the "Baibakty" clan within the "Baiuly" tribe. His maternal lineage comes from the "Berish" clan, known for its legendary warriors and influential figures. Kurmangazy's seventh-generation ancestor, "Ershi," was renowned for his sharp wit and eloquence. A famous saying about him still exists: "Before debating Ershi's men, try arguing with his women first." His fifth-generation ancestor, "Baltabai," and his family were known for their mastery of the "dombyra" passing down a deep musical tradition. His father, "Sagyrbai" (reportedly also known as "Duysenbai"), was a simple laborer with no inclination toward the arts. However, his mother, "Alka," was a free-spirited and bold woman from the "Berish" clan, embodying the warrior-like traditions of her people. She was known for her lively presence at celebrations and gatherings. Later, when Kurmangazy married "Aues," the daughter of "Igilik," the "Berish" clan also became his in-laws, further intertwining his life with this historically significant lineage.

Since childhood, Kurmangazy's most expressive and sensitive language was the language of music that came from the strings of the dombra. That is why, when he first saw and listened to Sokyr Eszhan, the renowned kuishi of the steppe, he immediately understood the language and essence of his dombra, listening in deep admiration. Likewise, he passionately played the pieces of his contemporaries, such as Sherkesh, Baizhuma, and Balamaisan, grasping the most truthful essence of time through their music. However, Kurmangazy's true mentor was Uzakh.

In 1830, Kurmangazy was present during the peasants' uprising against Zhangir Khan, led by Isatai Taimanuly from the Berish tribe and his close friend, the fervent poet and masterful composer Makhambet Otemisuly. During those years, he composed the piece "Kishkentai" (Little One).

In 1857, Kurmangazy was imprisoned. He managed to escape just before being exiled to Siberia. Later, he was arrested again and sent to Orenburg prison, but was freed with the support of Governor-General Perovsky. Inspired by his prison experiences, he composed several pieces, including "Kairan Shekem" (My Dear Mother), "Erten Ketem" (I Leave Tomorrow), "Kisen Ashkan" (Breaking the Shackles), "Turmeden Kashkan" (Escaped from Prison), "Arba Sokkan" (The Wagon’s Rattle), "Perovsky Marshy" (Perovsky’s March), "Ne Krichi, Ne Shumi" (Don’t Shout, Don’t Make Noise), and "Mashina" (The Machine).

In 1880, he moved to the Sakmar settlement near Astrakhan. Highly respected within the community, Kurmangazy gathered his disciples, including Dina Kenjeqyzy Nurpeisova, Yergali Yeszhanov, and Mendigali Suleimenov. During that era, renowned dombra masters such as Kokbala, Menetai, Menqara, Sugirali, Torghaibai, and Shora also regarded Kurmangazy as their mentor.

Kurmangazy was a great and renowned kyuyshi (composer and dombra player) of the steppe. He learned from the esteemed master Soqyr Yeszhan, exchanged musical insights with the distinguished kyuyshi Dauletkerey, and was influenced by the artistry of Sherkesh, Baizhuma, and Balamaisan.

Life History and Timeline

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  • 1823 – Born in the present-day Kurmangazy district, Atyrau region.
  • 1836-1840 – Abandons herding and fully dedicates himself to music. Travels across the region with kuyshi Uzakh.
  • 1830-1840 – Develops as a composer, creating dozens of Kui (music) (instrumental pieces).
  • 1845-1850 – Travels through the Zhem and Sagyz rivers, as well as the Mangystau and Ustyurt regions. Lives among his maternal relatives, Töremurat and Narynbai, in the land of the Aday people.
  • 1850 – After returning from Mangystau, he is imprisoned in Orenburg but soon escapes.
  • 1857 – Imprisoned in Orda prison on September 26.
  • 1857 – Escapes from prison in early November.
  • 1857-1860 – Hides in various villages.
  • 1860-1863 – Returns to his homeland.
  • 1864 – Imprisoned in Orda again for escaping and accused of cattle theft, serving 2 years and 7 months.
  • 1868 – Meets journalist N. Savichev.
  • 1868 – Imprisoned in Orenburg.
  • 1870 – Summoned to Astrakhan and imprisoned again. There, he meets a Kalmyk named Saranjap and escapes from prison.
  • 1882 – Held in Krasnoyarsk prison.
  • 1884 – Seeks help from ruler Makash Bekmukhamedov and receives an “Aq passport” (travel permit).
  • 1885-1890 – Moves to Sakhma and composes the kuy Demalys (Rest).
  • 1890-1895 – Lives a peaceful life, hunting and training students.
  • 1896 – Passes away in Altynjar, Volodarsky district, Astrakhan Oblast.

Legacy

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Sagyrbaev's mausoleum

In 1993, Sagyrbaev's image has been used on the 5 Kazakhstani tenge banknote, and on a Khazakh stamp in 1998.[1]

The Kazakh National Conservatory is officially named after Kurmangazy.[5]

Works

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The time when Kurmangazy lived, especially the period when he became aware of his surroundings and actively engaged in life, was highly complex. This was the era when the colonial policies of Tsarist Russia were at their peak—greedy, oppressive, and increasingly ruthless. In times of hardship, the burden of calamity always falls first on the shoulders of the most resilient individuals. The turmoil of the era also left its mark on Kurmangazy, testing him with fire and trials. His compositions such as "Tүрмеден қашқан" (Escaped from Prison), "Кісен ашқан" (Breaking the Shackles), "Ертең кетем" (Leaving Tomorrow), "Бозқаңғыр" (Bozqangyr), "Пәбескі" (Carriage), "Терезеден-есіктен" (Through the Window and Door), "Бозшолақ" (Bozsholak), "Бұқтым-бұқтым" (Buktym-Buktym), "Ne krichи, ne shumi" (Do Not Shout, Do Not Make Noise), "Арба соққан" (Wagon Maker), "Аман бол, шешем, аман бол!" (Farewell, Mother, Stay Safe!), "Қайран шешем" (My Dear Mother)—serve as milestones of the hardships imposed by the times. He responded to every challenge of his harsh fate through his art, leaving his mark with his music.

Kurmangazy was a composer deeply in love with life. He could rejoice like a child at the bright moments of existence and immerse himself in pure emotions. His compositions such as "Қызыл қайың" (Red Birch), "Ақжелең" (Akzhelen), "Адай" (Adai), "Сарыарқа" (Saryarka), "Балбырауын" (Balbyrauyn), "Серпер" (Serper), "Назым" (Nazym), "Балқаймақ" (Balkaymak), "Бұлбұлдың құрғыры" (Cursed Nightingale), "Ақсақ киік" (Lame Antelope), "Төремұрат" (Toremurat), "Қуаныш" (Joy) reflect the heartbeat of a soul deeply passionate about life.

What sets Kurmangazy apart as a unique artist is his conceptual approach to composition. He was not just reflecting on the fate of one or two generations but delved deeply into historical phenomena that shaped multiple generations. This ability to contemplate and interpret significant societal changes was an essential part of his spiritual identity. His compositions such as "Жігер" (Ziger), "Көбік шашқан" (Foaming Waves), "Кішкентай" (Kishkentai), "Ақбай" (Akbai) serve as the reflections of a philosophical composer, offering his assessment of the historical and social realities of his time.

Similarly, his compositions such as "Айжан-ай" (Aizhan-ai), "Айда бұлбұл" (Sing, Nightingale), "Алатау" (Alatau), "Амандасар" (Greeting), "Бас Ақжелең" (Main Akzhelen), "Демалыс" (Rest), "Лаушкен" (Laushken), "Ойбай, балам" (Oh My Child), "Саранжап" (Saranjap), "Теріс қақпай" (Reverse Kakpay), "Ұзақ Ақжелең" (Long Akzhelen) are widely known.

Kurmangazy’s soaring spirit cannot be confined to the realm of music alone. A talent of such immense power serves as a testament to the spiritual identity of an entire nation. The great historical transformations in a nation’s destiny are always intertwined with the fates of its extraordinary sons and daughters. In this sense, Kurmangazy was not only an unparalleled artist but also a living embodiment of his people's essence, reflecting the turbulent and chaotic era he lived in. With his powerful compositions, he carried the weight of his time without breaking, just as Makhambet did in poetry, Shoqan in science, and Kenesary on the battlefield—remaining steadfast in his indomitable spirit.

References

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  1. ^ a b Kazakhstan 5 Tenge Banknote.ws
  2. ^ Axel Frey, ed. (2005). Biographischer Index Rußlands und der Sowjetunion [Biographical Index of Russia and the Soviet Union] (in German). Walter de Gruyter. p. 1160. ISBN 9783110933369.
  3. ^ Kurmangazy Sagyrbaev Madenimura.kz Archived 2019-05-27 at the Wayback Machine
  4. ^ Monument of Kurmangazy Sagyrbaev atyrautourism.kz Archived 2016-05-10 at the Wayback Machine
  5. ^ Kassymova, Didar; Kundakbayeva, Zhanat; Markus, Ustina (2012). Historical Dictionary of Kazakhstan. Scarecrow Press. p. 167. ISBN 9780810879836.
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