ASTANA – Kazakhstan celebrated the 100th anniversary of a prominent Kazakh composer and a key figure in the national school of composers Sydyk Mukhametzhanov on Sept. 5. Mukhametzhanov, born in 1924 in the Shet District of the Karagandy Region, is hailed as a classic of 20th-century Kazakh music.
Sydyk Mukhametzhanov. Photo credit: inkaraganda.kz
He pioneered several new genres in Kazakh music, including the first national comic opera, the first Kazakh oratorio, and the concerto genre for voice and orchestra. His unique talent is recognized by both contemporaries and historians.
A life devoted to music
Mukhametzhanov completed his seven-year schooling in Taraz in 1940 before moving to Almaty, where he attended a short course on leading amateur clubs. Here he first encountered music theory and solfeggio. His father was an exceptional performer of kui (traditional musical composition) playing the dombra and kobyz, while his mother had a beautiful singing voice. From them, he inherited a deep love for folk music and an extensive knowledge of its repertoire.
In 1943, after finishing his secondary education at a Russian school, Mukhametzhanov enrolled in the theoretical and composition department of the Almaty Music College, where he studied until 1946. He then transitioned to a preparatory course at the Almaty Conservatory, but health issues interrupted his studies. From 1947 to 1949, he worked as a leader of amateur circles in various institutions in the Zhambyl Region. He graduated from the theoretical and composition department of Tchaikovsky Music College in 1949 and continued his studies under Yevgeny Brusilovsky at the Almaty State Conservatory, graduating in 1957.
Mukhametzhanov inherited a deep love for folk music and an extensive knowledge of its repertoire from his father, a skilled performer of kui on the dombra and kobyz, and his mother, who had a beautiful singing voice.intoclassics.net
During his conservatory years, Mukhametzhanov also worked as a music editor at Kazakh Radio. He served as chairman of the Union of Composers of Kazakhstan from 1960 to 1962, directed the Kazakh Philharmonic from 1964 to 1968, and led the Kazakh Academic Opera and Ballet Theater from 1969 to 1972.
Mukhametzhanov made substantial contributions to Kazakh song art with compositions based on Abai’s poetry, such as “Zhark etpes kara konilim ne kylsa da” (my soul will never shine), “Ozgege konylym toyarsyn” (my soul may tire of others), and “Gashyktyn til – tilsiz til” (the speechless language of love).
His well-known songs and romances, including “Koktem valsi” (spring waltz), “Syrly kaiyn” (mysterious birch), and “Zhastar marshy” (youth march), are celebrated for their lyricism and themes of childhood, youth, peace, and labor.
The symphonic poem “Shattyk otany” (homeland of joy) earned recognition at the World Festival of Youth and Students in Bucharest and was awarded the National Prize named after Zhambyl a year later. This symphony was broadcast daily by Kazakh Radio for 25 years starting in 1953.
Mukhametzhanov composed several operas, including “Beket”, “Aisulu”, “Zhumbak kyz” and “Akhan Seri — Aktokty”, as well as the oratorio “Golos vekov” (voice of the ages). His symphony “Burya” (storm) made a significant impact on national music.
Legacy in Kazakh music
In an interview with The Astana Times, Abzal Mukhitdin, Astana Opera’s conductor and Honored Artist of Kazakhstan praised Mukhametzhanov’s contributions to Kazakh music.
He noted that Mukhametzhanov made a significant impact with his innovative large choral works, including vocal-choral cycles, choral poems, choral cantatas, and oratorios.
“Mukhametzhanov was renowned for his skill in creating complex musical forms and orchestrations that blended elements of Kazakh folk music with modern musical structures. His unique approach combined the depth of national traditions with Western classical music,” said Mukhitdin.
Abzal Mukhitdin, Astana Opera’s conductor and Honored Artist of Kazakhstan. Photo credit: the theater’s press service
He emphasized that Mukhametzhanov’s work continues to resonate today, with contemporary musicians and audiences valuing his compositions for their originality and deep reflection of musical traditions. Excerpts from his operas, oratorios, and symphonies are frequently performed at concerts and festivals, and works such as “Aisulu” and “Akhan Seri — Aktokty” continue to inspire new generations of performers and composers.
“Mukhametzhanov also created the radio opera “Abai and Aigerim” based on his romances, one of which I performed myself as a student at a music college,” said Mukhitdin.
Mukhitdin emphasized that Mukhametzhanov’s legacy is crucial in shaping the modern Kazakh music scene. His works bridge traditional Kazakh music with contemporary directions, enriching and developing the musical language.
Honoring a master
In 2022, a memorial sign was installed on the Alley of Stars in front of the Miners’ Palace of Culture in Karagandy to honor Mukhametzhanov’s enduring legacy.
“Zhumbak kyz” opera staged at Abai State Opera and Ballet Theater. Photo credit: gatob.kz
To commemorate the composer’s anniversary, Astana Opera will present “Aisulu,” one of the most significant works, from Nov. 29 to Dec. 1.
Mukhitdin noted that the preparation involved analyzing scores from past productions, revising the musical material, and creating a new edition of the opera that reflects the historical context and style of the 1960s and 70s.
“It is a light comic opera that was once close to the operetta genre, but we aim to transform it into a major work. The challenge is to maintain its lightness of perception while making the scale of the work invisible to the audience,” said Mukhitdin.
“The cast will primarily consist of young artists who will face the challenge of immersing themselves in the Soviet-era atmosphere. It is our task to guide and detail all the nuances for them,” he added.
Mukhitdin emphasized that the collaboration between the director and conductor is crucial for the harmony of the production. The director will be Yerenbak Toikenov, with whom Mukhitdin previously staged the opera in Karagandy.
“With experience and deep knowledge, we are returning to Mukhametzhanov’s original version, expanding it into a more substantial production while preserving its lightness and comedic elements,” he said.
