Kurmangazy Sagyrbaev

Kurmangazy Sagyrbayuly
1998 Kazakhstan stamp, for the 175th anniversary of his birth
Born	1823 Zhideli village, Bokey Orda District, West Kazakhstan Region
Died	1896 (1897) (aged 73) Astrakhan, Russian Empire
Citizenship	Bukey Horde
Occupation	Composer
Notable work	"Sary-Arqa"

Kurmangazy Sagyrbayuly (Kazakh: Құрманғазы Сағырбайұлы, Qūrmanğazy Sağyrbaiūly; 1823–1896) was a Kazakh composer, instrumentalist (kobyz, dombra), and folk artist. 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.

Biography

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

• 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

Sagyrbaev's mausoleum

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

The Kazakh National Conservatory is officially named after Kurmangazy.

Works

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.

The History of Kurmangazy’s Kuys

One of Kurmangazy’s earliest compositions is Kishkentai, dedicated to the leader of the uprising, Isatai. His kuys Aqbay, Aqsak Kiik, Kobik Shashkan, Turmeden Kashkan, and Aday vividly depict a hopeful future, the people's aspirations, and resentment toward the ruling class. Through his kuy Saryarka, Kurmangazy paints a musical image of his homeland and its vast steppe. His kuys captivate listeners with their rich melodies, graceful nuances, and powerful energy, creating a whirlwind of emotions with their dynamic tempo. Most of his compositions have well-defined themes and structured forms, making them grand musical pieces. Kurmangazy skillfully explored the full potential of the dombra, utilizing its sound range and technical capabilities to the fullest. A distinctive feature of his kuys is the well-developed progression of the melody, where the "small saga" and "great saga" sections unfold, allowing the dombra’s full range to be mastered. The unique rhythm and structure of each composition remain consistent throughout the piece. Some of his famous kuys include Balbyrauyn, Erten Zhetem, Buktym-Buktym, Balkaimak, Boz Kangyr, Ne Krichi Ne Shumi, Aizhan-Ai, and Laushken. Detailed descriptions of these and many others are provided below.

• Qairan Shechem (Oh, My Dear Mother)

When Aqkai’s messengers were about to tie Kurmangazy to a cart for exile, he saw his mother, Akbala. Overcome with emotion, he regretted that he had not done anything meaningful for the mother who had raised him with such care. Now, once again, he was being taken away. Tears welled up in his eyes as he approached her. Seeing this, his mother rebuked him: “I thought I had given birth to a brave son, but I see now that I have raised a weak and cowardly one. How dare you shed tears in front of others?” Then, she slapped him across the face. This moment made Kurmangazy realize his mistake. While imprisoned in Orenburg, he reflected on this painful encounter and composed the kuy Qairan Shechem in honor of his mother. The kuy begins with a slow, sorrowful melody, as if expressing his despair in captivity. Gradually, it builds in intensity, reflecting his emotions pouring out in a passionate musical expression.

• Qapy (Regret)

A long-standing enemy of Kurmangazy, a local judge (bi), relentlessly pursued him. During a gathering, while playing the dombra and reciting the verses of Isatai and Makhambet, Kurmangazy was accused of praising the rebellious leaders. Using this as an excuse, the judge had him arrested. Filled with frustration and regret over this betrayal, Kurmangazy composed the kuy Qapy (Regret). This piece conveys a deep sense of sorrow and disappointment, reflecting his emotions through its melancholic yet powerful melody.

• Qosh Aman Bol (Farewell)

As Kurmangazy was unexpectedly captured and about to be sent to Orda prison, he bid farewell to his people, saying, “Until we meet again, farewell, my people.” At that moment, he played the kuy Qosh Aman Bol. This kuy embodies a heartfelt goodbye, filled with longing and sorrow. The melody begins with a somber tone, reflecting his sadness at parting, but as the piece progresses, it gains strength, symbolizing his resilience and hope for freedom.

• Qyz Danai’s Massacre

In 1850, Kurmangazy traveled with his uncles Töremurat, Öten, and Narymbai to rescue a young woman named Qyz Danai from an arranged marriage. As they were bringing her back, a group of pursuers attempted to reclaim her, but Kurmangazy bravely fought them off, ensuring her safe passage. Impressed by his courage, his uncles honored him with great respect and gifts. Inspired by this event, Kurmangazy composed Qyz Danai’s Massacre. The kuy vividly captures the thunderous gallop of horses and the intensity of battle, while also weaving in the beauty of Danai through soft, melodic passages that evoke her graceful laughter. To celebrate this heroic feat, Töremurat organized a grand feast, inviting the entire community.

• Qyzyl Qaiyng (The Red Birch)

According to legend, while fleeing from pursuers, Kurmangazy found shelter beneath the branches of a lone red birch tree standing in the vast steppe. The tree’s foliage concealed him, allowing him to evade capture. Grateful for this unexpected protection, he later said, “My people, my land, and even a single tree have been my refuge. That red birch shielded me like a mother, covering me with its leaves.”. In honor of this moment, he composed the kuy Qyzyl Qaiyng. The melody reflects both the tension of the chase and the deep gratitude he felt toward the land that had always sheltered him.

• Kóbik Shashkan (Foaming Waves)

At certain periods in history, the Caspian Sea’s water level would rise dramatically, overflowing its shores and causing destruction. Scientists say this is a natural cycle that occurs over long intervals. One such event took place in the second half of the 19th century, witnessed by the great composer Kurmangazy and the improvisational poet Qashagan. During one of Kurmangazy’s visits, he encountered Qashagan, and together they walked along the stormy shore, observing the raging sea. There is even a painting depicting this moment. Deeply affected by the devastation the flood brought upon the people, Qashagan composed the epic poem Topan, where he interprets the catastrophe as a consequence of humanity’s moral decline and indulgence in sin. Kurmangazy, too, was moved by the sight of the sea’s wild, foaming waves and the suffering they caused. Inspired by both the stormy waters and Qashagan’s poetic vision, he composed the kuy Kóbik Shashkan. The piece reflects the turbulent power of the sea, its relentless surges, and the sorrow it inflicted upon the people, blending sorrowful undertones with a dramatic, surging melody.

• Túrmeden Qashqan (Escape from Prison)

According to historical accounts, Kurmangazy composed this kuy while resting after a daring prison escape. From a young age, he fought for his people’s freedom, which led to multiple imprisonments. During one of these times, his prison companion, Lavochkin, received a hidden steel saw from his mother, concealed within food. With the help of sympathetic prison guards, Kurmangazy managed to escape. Exhausted but filled with relief and inspiration, he sat down to rest and composed Túrmeden Qashqan. The kuy captures the tension and urgency of his escape, the thrill of freedom, and the deep breath of relief after breaking free. The melody builds with intensity, reflecting the pulse-pounding moments of his flight, then transitions into a more triumphant and liberated tone.

External links

• Media related to Kurmangazy Sagyrbayuly at Wikimedia Commons