Composers of Kyrgyzstan

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MINISTRY OF EDUCATION AND SCIENCE OF KYRGYZ REPUBLIC

Jusup Balasagyn Kyrgyz National University

Faculty of Foreign Languages

Department of English Studies and Intercultural Communication

Course paper

Composers of Kyrgyzstan

Done by: Akhmatbekova. A.T.

Supervisor: Osmonova D.E.

Bishkek 2020



Content

Introduction

Chapter 1. Biography Of Abdylas Maldybayev

1.1 Early years and the beginning of creativity

Chapter 2. Creativity

2.1 Main works

2.2 Awards and titles

2.3 Memory

Chapter 3. The role of Abdylas Maldybaev in the development of musical art of Kyrgyzstan

Conclusion

Bibliography



Introduction

composer maldybayev

This theme is dedicated to one of the composers of Kyrgyzstan who made a great and significant contribution to the development of culture and art of our country Maldybayev Abdylas Maldybaevich. He became one of the first composers who began to build the Foundation of the Kyrgyz professional musical and theatrical culture. Abdylas Maldybayev actively and directly participated in the opening of the first music and pedagogical schools, colleges, drama and Opera theaters.

Starting to talk about a topic, you should learn the very meaning of the word “ Composer” The composer (from the Latin. composer -- a composer of musical works. The term is used primarily in relation to authors who are aware of composition as a kind of professional activity, and in many cases as a means of livelihood. The profession of a composer presupposes the presence of creative talent and requires special training in composition techniques, music-theoretical and music-historical disciplines. In the standard case, the composer writes down his compositions in a particular musical notation, which is then interpreted by the performer.

The aim of the course work is to study the contribution and progress of the composer Abdylas maldybayev in the development of new talents, ideas, innovations and influence on the cultural heritage of Kyrgyzstan as a whole.

Topicality of the course work is that in modern times in our society there are few people who have a concept of the culture and history of our country. It is important to remember and develop the legacy given to us by the geniuses of their time, already in a new modern format. Provide more information in both book and digital versions, as people who are interested in the topic, art, or about the individual in this activity have to face the problems of obtaining complete and reliable information, photos, audio and video recordings.

The scientific novelty of the study consists in the analysis of little-known documents about the life and creative activity of A. Muldybaev, his role in the phased formation of professional musical art in Kyrgyzstan, which influenced the formation of the principles of synthesis of folk music with Russian musical culture during the formation of professional composer activity.



1. Biography Of Abdylas Maldybayev

There is no person in the country who does not know Abdylas maldybayev and there is no place in Kyrgyzstan where his songs are not sung. Contemporaries remembered maldybayev as a man who said "This talent must be helped!". Thanks to the great composer, hundreds of young students were sent to study at the most prestigious theater universities and colleges in Moscow and Leningrad. He helped the formation of K. Moldobasanov, N. Davlesov, M. Abdraev and many other composers, musicians and conductors of Kyrgyzstan.

He was born on June 24 (July 7), 1906, (according to other sources -- June 7) in the village of Kara-Bulak, (now -- in Kemin district, Chui region, Kyrgyzstan) in a dehkanin family.

In 1922, he composed his first song "Akinai" on his own poems, which became popular among the people.

In 1923, he entered the Kazakh-Kyrgyz Institute of education in Almaty. A year later, he transferred to the newly opened first Kyrgyz pedagogical College in Frunze (now the Kyrgyz national University named after Zhusup Balasagyn), from which he graduated in 1929. During his studies, he participated in Amateur performances, sang in a choir, and performed in dramatic performances, for which he composed music.

His first teachers were Russian musicians D. Kovalev, P. Shubin, and a collector of Kyrgyz folklore A. Zatayevich.[6]

In 1929-1930 -- head of the educational Department and teacher of the Kyrgyz music and drama Studio. At the same time, he participated in the musical design of performances, performed as an actor.

In 1930-1933, he was a Director of the Kyrgyz music College in Frunze.

In 1933-1936-artist of the Kyrgyz state theater (created on the basis of the Kyrgyz music and drama Studio), performed in dramatic performances as an actor and as a singer. From 1936 to 1962-soloist of the Kyrgyz musical and drama theater (established on the basis of the Kyrgyz state theater; since 1942-the Kyrgyz Opera and ballet theater, now-the national academic Opera and ballet theater named after A. Maldybayev).

In 1942, he was the first performer of the role of Lensky in the Opera" Eugene Onegin " by P. Tchaikovsky on the Kyrgyz stage.

He was engaged in concert performance and composition at the same time.

In 1940, he began studying at the national Studio of the Moscow Conservatory, but interrupted his studies during the war. He was restored at the Conservatory in 1947 and graduated from a special course in 1950 (composition class Of G. I. Litinsky, then V. G. fere).

In 1953-1954-Director of the Frunze music and choreography school named after M. Kurenkeev.

Maldybaev-author of music (together with composers V. A. Vlasov and V. G. Fere) National anthem of the Kyrgyz SSR (1946).

From 1939-Chairman of the organizing Committee, from 1948 to 1968-Chairman of the Board of the Union of composers of the Kyrgyz SSR. Since 1948-member of the Board and Secretary of the Union of composers of the USSR and a member Of the Committee For state prizes of the USSR under the CM of the USSR. Since 1951-member of the Republican branch of the Soviet Committee for the protection of peace.

Deputy of the Supreme Soviet of the USSR of the 1st convocation, Deputy of the Supreme Council of the Kyrgyz SSR of the 2nd-4th convocation.

He died on June 1, 1978 in Frunze (now Bishkek). He was buried at the Ala-Archin cemetery.

1.1 Early years and the beginning of creativity

Before Abdylas, only a few Kyrgyz people in Kyrgyzstan were familiar with musical literacy. Abdylas Maldybayev and his like-minded friends were the first to build the Foundation of the Kyrgyz professional musical and theatrical culture. With his active and direct participation, the first music and pedagogical schools, drama and Opera theaters were opened, where gifted children and young men from all, even the most remote and remote corners of the Republic gathered. Today, komusists, pianists, violinists, singers, dancers, circus performers, and dramatic actors have grown up on this Foundation.

But in the childhood and young years of Abdylas, everything was different. He was born in the village of Karabulak in the Kemin district in the family of a poor nomad. The sun, clean air, delicious water, divine beauty of nature, mountains with snow-white peaks, meadows, melodious rivers-this was the main wealth of the family. As a child and youth, he tended sheep at the local Bai. I have known toil, hunger, and humiliation. But in sad and joyful moments, Abdylas liked to sing the melodies of his ancestors. And when it happened, I enthusiastically watched the battles of improvisators of akyn singers. Witty soloists delighted the guy. In his dreams, he often saw himself singing akyn.

Until the last hour, Abdylas kept his son's love and memory of his parents in his heart. When the first world war began and Tsar Nicholas II issued a decree on the mobilization of the entire foreign population, all men under 45 years of age, father Maldybai gathered the family and took it to China. He saved not only from the tsarist satraps, but also from the chauvinists and nationalists who pushed the heads of the Russian and Kyrgyz peoples, incited to revenge and bloodshed. As soon as the situation subsided, Maldini with his family returned home and settled in Tokmok.

His father loved to play the komuz and was not indifferent to Kyrgyz melodies and songs. He listened to them with great pleasure. But most of all Madiba conquered their skills Dailyda beauty who became his wife -- the mother of Abdylas. With her singing, wit, and improvisation, she impressed the entire neighborhood. Her high clear voice sounded on holidays, which gathered people from near and far villages. And if someone in the family came to grief, there was not a woman in the whole area who would have been better at the funeral of the deceased, on the go, composed worthy stories about him. Abdylas claimed that the gift of improvisator, singer, melodist came from his mother.[7]

When the family returned to their homeland in 1917, all adults and young men had to work as farm laborers in Tokmak. Dailyda traded ayran, milk, other products. Suddenly she got typhoid and went to bed. Abdylas Helped Out. He ran to the market and sold all the products. The secret was simple. During the sale, he sang, thus attracting customers. Then for a long time relatives said that Abdylas then drove away the death of my mother. The proceeds were enough for medicines, treatment, and food.

In 1917, Abdylas was 11 years old. The October revolution radically changed the life of the Kyrgyz people. Abdylas went to the newly opened school. In 1923, he entered the Kazakh-Kyrgyz Institute of education in Almaty. Then he transferred to the newly opened pedagogical technical school in Frunze. During his studies, he was the initiator and active participant of all the meetings where melodies and songs were played. Here his main vocation was determined. He decided to become a musician, a composer. I was always in the thick of things, had a lot of friends and comrades. His marriage to the beautiful Bati did not become a happy event for all relatives, friends, and others.

In 1928, Abdylas graduated from the technical school and became the head of the educational part of the music and drama Studio. At the same time, he participated in the musical design of performances, performed as an actor. And when the Studio was converted into a theater, he became its leading artist. Abdylas surprised the audience and colleagues with his musicality, beautiful tenor and professional playing. He was a man of unusual appearance. Not everyone knows that Kyrgyz drama in the first years worked without women. The heroines were played by men in disguise. And the roles of young beauties were always for Abdylas.[7]

In the summer of 1936, his life took on a new meaning. In Moscow, he met and met the young Moscow composers V. A. Vlasov and N. G. fer. This was the beginning of a long-term fruitful cooperation. Already in 1939, during the first decade of Kyrgyz art in Moscow, two major works of this Commonwealth were performed -- the musical drama “Ajal ordun “and the first Kyrgyz Opera”Aichurek". In both works, Maldybaev performed as a composer and as a performer of the leading roles. The success was great. The masters were loved at home and abroad. Without his participation, no concert dedicated to significant events in the life of the Soviet and Kyrgyz peoples was held in Frunze. His artistic activity developed at a rapid pace. New roles in U. Hajibeyov's musical Comedy " Arshin Mal Alan“, in operas” Kyz-Zhibek "by E. Brusilovsky," Altyn Kekul "by M. Rauhberger," Aidar and Aisha " by A. Amanbayev and S. Germanov and others.

He was close to the audience by the fact that he studied the Russian language well, collaborated with Russian composers, performed Russian folk and modern songs, romances of M. Glinka, P. Tchaikovsky, N. Rimsky-Korsakov, and many other classics of Russian music. He paid much attention to the development of amateur performances, participated in youth competitions and art festivals. He helped young performers to prepare numbers at republican, all-union and world festivals of students and youth. Many contemporaries remembered his vivid performance of the party of Lensky in P. Tchaikovsky's opera Eugene Onegin.

Both in Kyrgyzstan and in Russia he had many friends. But we especially note his many years of friendship with a prominent Russian cultural figure, musicologist Viktor Sergeyevich Vinogradov, who highly appreciated Abdylas's talent. Both at home and at work, he occupied a lot of space with photographs, other expositions devoted to Kyrgyz musical and theatrical art. V. Vinogradov made a great contribution to the promotion of music by Abdylas and other Kyrgyz composers. Maldybaev composed songs, romances, and other musical works, while continuing to improve his composing skills. To this end, in 1941 he entered the national studio at the Moscow State Conservatory. But the study was interrupted by the war.

Abdilas returned to Kyrgyzstan. He escorted to the front relatives, friends. Twice he wrote statements with a request to send to the front. But the government decided otherwise: “You are a talented person. You will fight the enemy with music and song. ”

By the beginning of the war, Abdylas had considerable merits in front of the Kyrgyz musical culture. In 1937, he was elected to the Supreme Soviet of the USSR, he was awarded the title "Honored Artist of the Kyrgyz SSR." And two years later they were awarded the Order of Lenin and awarded the title of “People's Artist of the USSR”. He was the first Kyrgyz to be awarded such a high rank.

During the war years, he transferred the entire annual salary to the front assistance fund. He formed front-line artistic teams. With singer S.Kiizbaeva, singer-komuzist M. Bayetov, akyn A. Usenbaev, he spoke to the fighters on the front line. Throughout the war, Abdylas's apartment was a free hotel for front-line soldiers. Only in 1947 he resumed classes and studied for three years under the guidance of his friend and co-author V. Fere.

Together with Vlasov, Fere, and other composers, the operas “Patriots”, “Manas”, “On the Issyk-Kul Coast”, “Toktogul”, the musical comedy “Kim Cantti”, the festive ode “Century Friendship”, the cantata “The Great Forty Years” were written ", Oratorio" Son of the Kyrgyz "," Wedding evenings "and others.

Leading composers, musicians of the USSR, Kyrgyzstan and other countries highly appreciated the talent of Abdylas. He enriched the Kyrgyz national flavor with modern sounds. His discoveries served as fertile methodological ground for the subsequent galaxy of Kyrgyz composers.

He was well versed in the specifics of musical stage genres, which contributed to the success of his works for the theater. On the eve of his 70th birthday, he completed the “Ballad of Telman” to the words of A. Tokombaev and together with V. Vlasov the cantata “Where are the Three Nightingales”, which he dedicated to the outstanding Kyrgyz poets Zh. Turusbekov, Zh. Bokonbaev, M. Elebaev.

A public person is characterized by a civic position both in professional activity and in public. Abdilas never spared himself for people. About thirty years he was the head of the Union of Composers of Kyrgyzstan, also about 30 years was a member of the board of the Union of Composers of the USSR. Many leaders of such unions in national republics received salaries for this. But Abdilas never raised this question. Maldybaev tried to do everything that demanded duty and conscience, without thinking how much they would pay for it. And the biggest reward was the trust of others and the love of the people. And the fact that Abdilas was elected as a deputy of the Supreme Soviet of the USSR and the Kyrgyz SSR, was awarded three times with the Order of the Red Banner of Labor, the Order of Honor, was awarded the State Prize of the Kyrgyz SSR named after Toktogul and many other honors and awards - this is only an external recognition of his great merits.

His vast creative legacy and performing activities reflected all the historical milestones of the formation and development of professional musical art in Kyrgyzstan. Co-author of the first Kyrgyz opera Aichurek, author of about three hundred songs and romances, the creator of vivid scenic images in national and classical performances, he proved to be a talented representative of his people, who actively revealed and developed his musical traditions and laid new foundations of art during the Soviet era.

In the footsteps of the father, the children went. The eldest daughter Tolkun is a pianist. She graduated from the Moscow Music College at the P. Tchaikovsky Conservatory. She devoted her whole life to teaching at the Metropolitan School of Music. Fur coat. Now retired.

Great success in the musical pedagogical field was achieved by the youngest son of Bolot. He graduated from the choral conducting department at the Music College. M. Kurenkeev, and then at the Conservatory. P. Tchaikovsky. He was sent to teaching at the Kirzhenpedinstitut them. V. Mayakovsky. But six months later, the Ministry of Culture approved him the head of the choral chapel of the Kyrgyz State Philharmonic named after T. Satylganova. Then Bolot was transferred by the choirmaster to the Opera and Ballet Theater, the chief conductor of the orchestra of the State Committee for Television and Radio, the artistic director of the Kyrgyz State Philharmonic. Since 1972, he headed the Department of Choral Conducting at the Women's Institute, now the University. I. Arabaev. Still working in this department. Professor.

Like his father, Bolot never performed his job duties for nothing. Achieved great success everywhere. He is the creator and leader of the first Kyrgyz jazz, the first Kyrgyz pop art, the first Kyrgyz satirical brigade “Myskyl Zhana Tamasha”. As the biggest award, Bolot keeps a gold medal and a diploma of the laureate of the First Festival of Folk Art of the USSR, which was held in 1977 in Saratov. The children's institute's choir led by him sang an acapella of eight voices “Echo” by Orlando Lasso and amazed with the skill of both the academic jury and spectators and rivals from all union republics. The choir was invited to the final concert at the Palace of Congresses in Moscow.

Bolot composes musical works, but does not consider himself a composer. But his younger sister Zhyldyz, who also graduated from the P. Tchaikovsky Conservatory in Moscow, became famous as a composer, is a professor and the only woman among the members of the Union of Composers of Kyrgyzstan. In addition to creative, he devotes his whole life to music and teaching at the University named after Arabaev.



2. Creativity

"Eugene Onegin" P. Tchaikovsky - Lensky

“Azhal of the Ordun” (“Not Death, but Life”) by V. Vlasov, V. Fere, A. Muldybaev - Bektur

"Aichurek" ("Lunar Beauty") V. Vlasova, V. Fere, A. Muldybaeva - Kulchoro

“Toktogul” by V. Vlasov, V. Fere, A. Muldybaev - Kerimbay

“Manas” by V. Vlasov, V. Fere, A. Maldybaev - Syrgak

“Arshin Mal Alan” by U. Hajibeyov - Asker

“Aidar and Aisha” by A. Amanbaev and S. Germanov - Teltai

"Kyz-Zhibek" E. Brusilovsky - Tulegen

"Kokul" M. Rauchwerger - Kokul

2.1 Main works

The composer's creative heritage includes about 300 different works, including over 200 songs and choirs. He played a large role in the creation and development of the Kyrgyz Soviet song, being the founder of new genres for Kyrgyzstan, such as hymns, marches, romances and children's songs, choirs, cantatas, oratorios.

Together with composers V. A. Vlasov and V. G. Fere, he participated in the creation of the first Kyrgyz musical dramas, operas, ballets, and other works:

Musical dramas:

Altyn Kyz (1937)

“Azhal Orduna” (“Not Death, but Life”) (based on the play by J. Turusbekov, 1938)

Opera

Aichurek (Lunar Beauty) (1939)

The Patriots (1941)

“For the happiness of the people” (1941)

Manas (1946)

“On the shores of Issyk-Kul” (1951)

Toktogul (1958)

Cantatas:

“Happiness” (words by V. Vinnikov and K. Malikov, 1941)

Solemn anniversary cantata (lyrics by K. Malikov, 1946)

“In the native collective farm” (words by N. Gribachev, 1946)

“Hello to Moscow” (lyrics by K. Malikov, 1951)

“A Hundred Years Together” (f. A. Toktomushev, 1963)

“My people sings about Lenin” (lyrics by Toktogul, 1964)

“Lenin, you gave us freedom and happiness” (lyrics by Toktogul, 1965)

“Glory to Lenin” (1966)

“The Great 40 Years” (Kirghiz - a happy nation, lyrics by A. Belekov, 1966)

“Where are you, three nightingales?” (word A. Toktomushev, 1975)

Oratorios:

“Seekers of happiness” (words by J. Turusbekov, 1947)

“The Legend of Happiness” (words by V. Vinnikov, 1949)

"Wedding evenings" (words own and A. Belekova, 1970)

“Wedding on the collective farm” (1970)

Compositions created in collaboration with other composers:

musical comedy “Kim cantti” (“Who did what”) (jointly with M. Abdraev, A. Amanbaev and A. Tuleev, 1943)

musical drama "Toktogul" (1st version, collaborated with A. Veprikom, 1939; 2nd version, shared with M. Abdraev, 1956)

For soloists, choir and symphony orchestra:

cantatas: “The Parties of Our Glory” (shared with S. Ryauzov, lyrics by A. Tokombaev, 1954), “One Hundred Years of Our Friendship” (shared with M. Abdraev, 1963)

vocal and symphonic poem “Glory to you, party” (with M. Abdraev, lyrics by A. Tokombaev, 1961)

oratorio “The Son of the Kyrgyz” (with M. Abdraev, lyrics by S. Shimeev, 1967)

festive ode "Century-old friendship"

For a symphony orchestra:

Festive cui (with M. Abdraev, 1958)

Symphonic Suite “Holiday on the Collective Farm” (Sovm M. Abdraev, 1955)

dance "In the pasture" (with N. Davlesov, 1959)

Own works:

For string quartet:

Dance Miniature (1954)

For voice and piano:

romances, ballads (c. 50), including “Akinay” (f. own., 1922), “Zarema” (f. A. Pushkin, 1937), “Oath before the wires” (f. D. Bokombaev, 1941), “I'm sorry” (lyrics by A. Tokombaev, 1944), “Karkune chakkan for manna” (Our era) (Spanish Makhmutova), “Mother Remaining in Turkey” (lyrics by B. Sarnogoev, 1952), “I Hear is your voice ”(lyrics by M. Lermontov, 1964),“ He is Lenin ”(lyrics by A. Tokombaev, 1969),“ Motherland ”(lyrics by A. Tokombaev, 1971),“ Crying of a Vietnamese partisan woman "(F. A. Belekova, 1971)," Do not look at me, do not look... "(f. A. Toktomushev, 1974)," Telman "(f. A. Tokombaev, 1975)

Choirs:

(over 40), including “We are Leninists” (lyrics by K. Dzhantoshev, 1925), “Dream” (lyrics by D. Turusbekov, 1930), “Slaughterers” (lyrics by D. Bokombaev, 1932), “The Great March ”(lyrics by M. Elebaev, 1941),“ This is the banner ”(lyrics by A. Tokombaev, 1953), March of power engineers (lyrics by A. Belekov, 1965), Rodinaya mine (lyrics by A. Toktomushev, 1976)

Songs:

(over 150), including “Today” (lyrics by A. Tokombaev, 1932), “Hey, in red scarves” (lyrics by D. Turusbekov, 1932), “Listen, peace” (lyrics by D. Turusbekova, 1933), “Like this” (children's room, own words, 1935), “Let's go to school” (children's room, words K. Malikova, 1936), “Blooming era” (words D. Bokombaeva, 1939), “ Life ”(lyrics by Toktogul, 1939),“ Alymkan ”(lyrics by Toktogul, 1940),“ The Party with Us ”(children's, lyrics by A. Tokombaev, 1943),“ Father Lenin ”(children's, lyrics by S. Sh. Beishenalieva, 1952), “Party ticket” (lyrics by A. Toktomushev, 1953), “Book” (children's book, lyrics by A. Tokombaev, 1957), “Durdana” (lyrics by A. Tokombaev, 1959), “Ant” (children's book), cl. A. Osmonova, 1960), Planting a garden (det., Lyrics by A. Osmonova, 1960), Music (lyrics by A. Osmonova, 1973), “Biz Leninchil” (“We Leninists”), “Kyzyl-Tuu” (“The Red Banner”), “Eski Koychunun Zary”, “Takky koshtoshuu”

Other:

hymn songs: "Kyrgyzstan", "Party", "Land of the Fathers", "Party Card"

song-marches: "Red Riders", "Labor March"

recordings of Kyrgyz folk melodies (over 1000)

music for dramatic performances, including: “Zhapalak Zhatpasov” R. Shukurbekova (co-authored with P. Shubin, 1932), “Karachach” K. Dzhantosheva (co-authored with P. Shubin, 1933), “Azhal Ordun” J. Turusbekova (co-authored with D. Kovalev, 1934), films

Composition filmography:

1954 - “In the Valley of Susamyr” (documentary)

1958 - “Far in the Mountains” (shared with A. Amonbaev)

1959 - Toktogul

Maldybaev - compiler of a reading book for singing for secondary schools.

2.2 Awards and titles

· Honored Artist of the Kyrgyz SSR (1937) [4]

· People's Artist of the USSR (1939)

· State Prize of the Kyrgyz SSR named after Toktogul Satylganov (1970)

· Order of Lenin (06/07/1939)

· Order of the October Revolution (1976)

· Three Orders of the Red Banner of Labor (1946, 1951, 11/01/1958)

· Order of the Badge of Honor (1966)

· Medal "For Labor Distinction" (1964).

· Medal "For Valiant Labor in the Great Patriotic War of 1941-1945." (1945)

2.3 Memory

· Since 1978, the name of A. Muldybaev has been the Kyrgyz National Academic Opera and Ballet Theater

· Since April 11, 1994, a banknote of 1 som with the image of A. Muldybaev was put into circulation on the territory of Kyrgyzstan

· A street in Bishkek is named in honor of A. Muldybaev.



3. The role of A. Muldybaev in the formation of musical art in Kyrgyzstan

The versatile activity of A. M. Muldybaev in the context of the formation of professional art in Kyrgyzstan is considered. It was the vivid individuality of talent, close and deep connection with folk roots, combined with the fruitful assimilation of the achievements of the classical opera heritage that made A.M. Maldybaev one of the founders of the Kyrgyz Soviet composer school. The professional musical and dramatic art of the Kyrgyz people developed during the formation of Soviet power - the 20s. XX century.

In the pre-revolutionary years, the Kyrgyz did not know not only many genres of professional music - opera, symphony, but even the polyphonic choral singing and instrumental ensemble that were widespread among many peoples. Therefore, the historical experience brought by the participation in the formation and development of the Kyrgyz professional art of Russian musicologists, composers and the first national cadres - the founders of the professional musical and dramatic art of Kyrgyzstan, is of great scientific and practical importance.[5]

In this regard, the study and study of the life and work of the first composer, melodist, actor, singer A. Muldybaev, who was the founder of modern professional (polyphonic) art of written tradition in Kyrgyzstan after joining the Soviet Union, is especially relevant.

He co-authored with Russian composers V. Vlasov and V. Fere more than ten national operas staged by the Kyrgyz Opera and Ballet Theater, and took an active part in shaping development processes in the field of musical stage professional art.

An extraordinary melodic gift of A. Muldybaev was discovered as early as 16 years old, when, as a shepherd, he composed the first song “Akinay”, which was distinguished by a soft, soulful melody, a wide free chant and a memorable sounding accompaniment of national instruments dating back to Kyrgyz folk tradition.

In the 30s, A. Muldybaev will write one of the best songs - “Zaboychicter” (“Slaughterers”). The content of the text inspired the author to create a fundamentally new melody with a wide range and a clear rhythmic pattern. The song is being played at the pace of a quick march. The energetic melody of the song begins with an octave jump in male voices. Starting from the chorus, the groups of male and female voices alternate with each other, giving the impression of a contest, where the last 8 bars of the chorus, performed by the whole composition of the choir, acquire a generalizing meaning. In the clear, marching rhythm of the song, the frequent change of choral groups, the atmosphere of joyful work is imaginatively presented.

The character of the presentation develops folk traditions and serves as a further step on the way to mastering by Kyrgyz performers collective singing (at that time still unanimous), the first sprouts of which were developed precisely in the new songs of A. Maldybaev. In addition to songs, for the first time in Kyrgyz music A. Muldybaev is developing oratorio-cantata forms. Together with V. Vlasov and V. Fere, he owns the oratorio “Bakyt izdegender” (“Seekers of happiness”), the cantata “Moskva salam” (“Hello Moscow”) and others. He glorifies the Communist Party (“Party”, “Party membership card”) workers ("Miners", "Virgin Soil Is Waiting for Us") and the brotherhood of Soviet peoples ("Moscow", "Our Homeland is the World"). Thus, the musical works of A. Maldybaev are characterized by a patriotic orientation, the themes of which he took from the life of the people. The music was melodious and had a huge impact on a wide audience.

One of the fundamentally important achievements of A. Muldybaev is that he based his songs on the song - a phrase directly borrowed from folklore. For example, the initial melodic construction of the song “Kyzyl Joolukchan” (“In a Red Scarf”) represents the main theme from “Kichine Shyngyrama” (“Little Tune”), a song from kyu “Ker Ezen” (“Wide River” is interspersed in “Victory Song”) ”), Iskender's aria from“ Azhal Ordun ”contains a fragment from the folk song“ Kara Kez ”(“ Black Eyes ”).

But basically A. Muldybaev creates the original melos, whose kinship with folklore can be traced to cadences typical of folk art, he is a lyricist brought up in an atmosphere of wide folk melos, the style of shepherd's songs.

The transformation of the Kyrgyz State Theater into a musical-drama theater on October 7, 1936 coincided with the opening of the Kyrgyz Philharmonic Society, at that time it consisted of one orchestra of folk instruments, the repertoire of which preferred plays with rich music, singing, dancing and folk games.

In the same year, in connection with the preparations for the decade of Kyrgyz art in Moscow, Moscow composers, V. A. Vlasov and V. G. Fere, came to Kyrgyzstan and began to work closely with A. Muldybaev.

As a result of their joint activity, on May 12, 1937, the premiere of the musical drama “Altyn Kyz” (“The Golden Girl”) based on the play by the playwright

J. Bokonbaev, which laid the foundation for the professional development of the Kyrgyz musical theater, took place.

When creating the drama “Altyn Kyz”, A. Muldybaev acted as a musical consultant, and in separate episodes, he also authored melodies (Japar's aria and song in the final scene), which were included in the drama's repertoire.

About this, music critic A. Petrov wrote: “With a natural and understandable timidity, composers took up the task of creating the first musical performance. They apparently set themselves very modest, but essentially very difficult tasks: to be as close as possible to Kyrgyz folk art, to folk song, to the character of Kyrgyz folklore (the author of the song is Abdylas Maldybaev). In the orchestration itself, composers sought to convey the sound of folk instruments ”[4].

The first Moscow decade of literature and art, which coincided with the premiere of staging on March 26, 1938, the second historical musical drama “Azhal Orduna” (“Not Death, but Life”) by J. Turusbekov's libretto, was an exam for the maturity of professional art in Kyrgyzstan. music of V. Vlasov, V. Fere and A. Muldybaev.

The story “Azhal Orduna” describes one of the episodes of the Kyrgyz uprising of 1916, when the people refused to obey the royal manifesto of conscription into the rear militia and opposed the tsar's officials and local baymanapes. A. Muldybaev, who saw the suffering of his native people in a foreign land, remembering how Kyrgyz refugees sold their children, wives and sisters into slavery for a piece of bread, composes excellent samples of characterization songs that deeply reveal the mental state of the characters. Based on his melodies, V. Vlasov and V. Fere created an exciting musical drama that was able to enrich the Kyrgyz national color with modern sounds [3, p. 10].

Thus, like most national opera houses of the former Soviet Republics, the Kyrgyz Musical Theater began its activity with productions of musical dramas, such as Altyn Kyz and Azhal Orduna. At that time, “Azhal Orduna” was already almost an opera, and the theater staff set as its goal to carry out its production [7].

1939 became especially memorable for musical theater, co-authored with three composers was the first national half-play opera “Aichurek” 1 (the name of the girl), which reflected the past of the freedom-loving Kyrgyz people who heroically defended their independence. The plot is based on an episode from the famous Kyrgyz epos “Manas” 2, which tells about the love of the beautiful Aichurek to the son of Manas, Batyr Semetey, who withstood all the trials. With its vivid entertainment of fantastic scenes, memorable to listeners by the music, the opera won a prominent place in the history of Kyrgyz culture and entered the Golden Fund of Soviet art.

The opera repeatedly uses folk melodies and tunes. It was the staging of the opera Aichu-Rek on April 12, 1939 that music critics celebrated as the birthday of the national opera. Composer A. Muldybaev collected all the melodic material, partly composing it on his own, partly selecting

1 Aichurek - a libretto based on the material of the epic "Manas", was written by poets K. Malikov, D. Bokonbaev and J. Turusbekov.

2 Manas is an encyclopedic collection of all Kyrgyz myths, fairy tales, traditions, brought to the same time and grouped around one person - the hero of Manas. The magnificent monument of the centuries-old life of the people - the trilogy “Manas”, “Semetei” (son of Manas) and “Seitek” (Son of Semetei) - was created by many generations of folk storytellers. Its authorship is anonymous.

from folk tunes. He later said: “When I composed the music of Aichurek, the images of this opera stood in front of me like living ones. I was clear about the nature of each, its distinctive features ”.

Music experts praised this production. Composer R. Glier then noted: “V. Vlasov and V. Fere achieved a great victory in working on Aichurek, primarily due to their ability to sensitively grasp the most characteristic of the intonational and modal nature of the Kyrgyz melos. The composers managed to use elements of Kyrgyz folk music very culturally for the finished opera pieces "Aichurek". Some ariosos, symphonic and choral episodes make a deep impression, A. Muldybaev showed a lot of taste and skill in the collection of Kyrgyz folklore ”.

In the musical performances of the decade of Kyrgyz literature and art in Moscow, in addition to compositing activity, the multifaceted talent of performing talent of A. Muldybaev was also shown in the main roles of the performances - Kuznetsov in Altyn Kyz, Bektura in Azhal Orduna and Kulchoro in Aychurek. A. Muldy-bayev sought to depict the heroes so that the audience did not have the slightest doubt about the veracity of the images. He also performed in dramatic performances and as a singer, surprising the audience with his musicality, a beautiful tenor.

Taking into account the successes of the newly created theater and the young Kyrgyz composer, by the Decree of the Presidium of the Supreme Soviet of the USSR dated June 7, 1939, the Kyrgyz State Music and Drama Theater was awarded the highest government award - the Order of Lenin, and the title of People's Artist of the USSR was awarded to composer and artist A. Muldybaev.

A. Maldybaev never stopped there. Two years later, on November 14, 1941, the premiere of the two-act opera by A. Maldybaev, V. Vlasov and V. Fere, “Patriots”, based on the libretto by K. Malikov and A. Kuttubaev, took place. This is the first Soviet opera dedicated to the Great Patriotic War. The music is based on the melodic material of A. Muldybaev, who, in addition to using folk tunes, created a number of original musical themes that reveal the images of patriots.

In connection with the transformation in August 1942 of the musical theater into the Kyrgyz State Opera and Ballet Theater, many new operas on pressing topics appeared.

Opera Manas by V. Vlasov, A. Maldybaev and V. Fere, libretto by A. Tokombaev and K. Malikov based on the heroic epic Manas (the premiere took place in mid-1945) was prepared for the 20th anniversary of the creation of the Kyrgyz SSR. This was not accidental; the libretto was based on an episode of deep patriotic content. The country is attacked by an insidious, vicious enemy, and Manas (the name of the Kyrgyz hero), uniting the Kyrgyz heroes in his army, frees the land from invaders.

Soon, composers A. Muldybaev, V. Vlasov and V. Fere will write a song that was approved as the National Anthem of the Kyrgyz Republic.

The second decade of Kyrgyz literature and art in Moscow, which took place from October 14 to 26, 1958, opened with the opera Toktogul, a libretto by J. Bokonbaev and K. Malikov, composers of which were A. Muldybaev, V. Vlasov and V. Fere. The libretto of this heroic-dramatic opera was based on real facts from the life of akyn1, the democrat Toktogul Satylganov2. It shows the life of Toktogul in his homeland, where he fights with the local baymanapes (“feudal lords”), and the akyn's stay in hard labor in Siberia [2, p. 225].

The image of the remarkable folk singer, thinker and composer Toktogul Satylganov was so close to A. Muldybaev that in 1941 he turned to composer A. M. Veprik for co-writing this opera. In the opera Toktogul, songs and Kyu akyn were used.

By the decade, a large collection of A. Muldybaev “My work is for my people” was published, which included 60 songs, romances and choirs created by him in different years. In addition, he wrote a musical and pedagogical manual for teachers of music and singing in secondary schools, as well as for teachers of music departments in higher and secondary pedagogical educational institutions.

In collaboration with other composers A. Muldybaev, in addition to the above musical works, wrote such operas as On the Bank of Issyk-Kul (1951), the musical comedy Kim Cantti (Who Did What), and the celebratory ode Century friendship, the cantata“ The Great Forty Years ”, the oratorio“ Son of the Kyrgyz Republic ”, “ Wedding Nights ”, etc. Especially in the opera “ On the Issyk-Kul Coast ”, the songs “ March of the Kyrgyz Pioneers ” and “ Labor March ”were sounded from the Kyrgyz people wide popularity.

Consequently, a deep knowledge of Kyrgyz folk music, high professionalism and inner self-exactingness4 allowed A. Muldybaev to be on a par with outstanding figures of socialist musical art.

He owns more than 300 songs and romances, oratorios, cantatas, many of which are widely known in different parts of the country, which made up the encyclopedia of musical art.

His songs had a beneficial effect on the formation of the songwriting of Kyrgyz composers of the next generation - M. Abdraev, A. Tuleyev, K. Moldobasanov, T. Ermatov, N. Davlesov and others.

The analysis of A. Muldybaev's creative activity confirms that he is one of the first national composers to organically master that “sum of knowledge”, which was the foundation at the stage of formation and development of professional musical art in Kyrgyzstan. A huge role in the formation of the creative, composer method and opera style of A. Maldybaev was played by the Russian music school in the person of composers V. Vlasov and V. Fere.

A bright individuality of talent, a close and deep connection with folk art, combined with the fruitful development of the achievements of classical opera and other genres of professional music made A. Maldybaev one of the founders and classics of the Kyrgyz Soviet composer school.

His social and professional activities became the socio-political basis of the process of interaction between the fraternal Soviet republics, and created great potential for the inclusion of Kyrgyzstan in the world musical culture.



Conclusion

This theme - “Composers of Kyrgyzstan” helps us to understand how important this so complex profession is for the development of the art and culture of Kyrgyzstan. There is a breakthrough in this area, namely, Abdylas Maldybaev made a great contribution to this. His works remain invaluable to this day.

Throughout the history of mankind, music has been an essential part of people's lives. Since ancient times, it has a huge emotional impact on humans. Despite the development of technology, nothing can replace human labor and the ability to feel and appreciate the complexity of this process.

Abdylas Maldybaev was a talented, ambitious, goal-oriented person who achieved high results in many areas of art.

With his music, he could convey to the listener all those emotions and feelings that cannot be expressed in words, but can only be felt with heart and soul.

A. Muldybaev devoted most of his life to his people and actively participated in the lives of his compatriots.

Many modern composers have followed in his footsteps and continue his work.

In the pre-revolutionary years, the Kyrgyz did not know not only many genres of professional music - opera, symphony, but even the polyphonic choral singing and instrumental ensemble that were widespread among many peoples. Therefore, the historical experience brought by the participation in the formation and development of the Kyrgyz professional art of Russian musicologists, composers and the first national cadres - the founders of the professional musical and dramatic art of Kyrgyzstan, is of great scientific and practical importance.

Thanks to Abdylas Maldybaev, we have the Kyrgyz National Academic Opera and Ballet -Theater named after him. This is one of the most famous and old sights of our country.

Very often world celebrities of opera and ballet come to the theater to tour. The interior of the building is rich in beautiful chandeliers, the decor has a large stage, excellent acoustics due to the competent architecture of the building. We have something to be proud of and protect the heritage left to us by our predecessors. Abdylas Maldybaev is the pride of the Kyrgyz people.



Bibliography

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3.Ðèõòåð. Õ. Äàäà: èñêóññòâî è àíòèèñêóññòâî. Ãèëåÿ 2014ã.

4.Bacharach.C. Street Art and Consent. The British Journal of Aesthetics 2015.

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