Karamoldo, the Komuzist who played all day
The history of Kyrgyzstan is full of interesting people – I suppose the same could be said almost any nation, but every now and again I come across the story of someone that stands out for some specific reason. For example, there is the guy whose playing on the Komuz soothed Stalin’s temper and is said to have moved him to tears … but more about him another time.
Today, I want to mention a different komuzist and composer who, (like Kurmanjan Datka), broke with tradition; who could be so wound up in his creative talent that he could and play all day long; who, despite being elected a revolutionary and a member of the Supreme Soviet, was also a devout Muslim. His compositions are still performed and very popular – it’s hard, for example, to imagine a concert of traditional music without a performance of his Marsh Batoi, (Batoi March).
This year happens to mark his 130th anniversary and despite a general decision of the government to cut back on this sort of this celebration, the Parliamentary Committee for Education, Science, Culture and Sport have decided to dedicate 300,000 som to commemorate it, (that’s about USD6500). Rather than paying for massive celebrations, they say that they want to use the money on education and measures to encourage creativity among the youth of Kyrgyzstan.
KARAMOLDO – Toktomambet Orozov
Toktomambet Orozov was a famous composer, Komuz player and actor.
He was born in the village of Korumdu on the northern shores of Lake Issyk Kul on November 17th 1883, (although the Encyclopaedia Kyrgyzstana says 1882). His father started teaching him to play the Komuz when he was five years old and he was soon established as a favourite performer at holiday gatherings, travelling from village to village. He obtained the nickname Karamoldo (= “Black Mullah”), when at the age of 15, he won a competition beating a hundred other players.
News of his talent spread and he was invited to the capital to perform with his older brother, Usup. They were both offered positions in the Philharmonia – but Usup having family back in Issyk Kul decided to return home. In Kyrgyz tradition it is the role of the youngest son to look after his parents in their old age – but Usup took on this responsibility, allowing Karamoldo to pursue his art. He settled in his native village and taught Komuz to the younger generations but never became as great a musician as his younger brother. In later life he returned to the simple life of a shepherd.
Toktomabet was involved in the 1916 uprising and revolutionary movement in Kyrgyzstan, eventually being elected as a deputy to the Supreme Kyrgyz Soviet. In 1935 he was awarded the title of People’s Artist of of the Kyrgyz SSR, was twice awarded the “Badge of Honour”, (in 1939 and 1951), as well as the Order of the Red Banner of Labour, a medal for “Valiant Labour in the Great Patriotic War of 1941-1945″ and a Diploma of the Supreme Council of the Kyrgyz SSR.
However, he remained dedicated to his music. He performed in Moscow and with the Kyrgyz State Orchestra between 1931 and 1936, after which he went on to be a soloist at the Philharmonia. It is said that when he played – it was like listening to a whole not just a single instrument.
For some time he taught at the Kurienkieva school in Frunze.
He composed many pieces. Although he only graduated in Composition in 1940, (in Moscow), a year earlier he had joined the Union of Soviet Composers. His early, (pre-revolutionary) pieces included “Shepherd’s pip”, Mental injury and “Sorrows” and typically praised the exploits of, and the bright future for the Kyrgyz people. He became popular for his traditional kyuu, (melodies for the komuz), especially Kambarkan, Kerbez and Botou March.
It is said that he could take a whole month over a composition, trying to perfect it. When he was working on a composition it was impossible to approach him – he didn’t like to be disturbed and when his concentration was broken he became very angry and, it is said, an angry Karamoldo was reminiscent of Stalin in a rage. He recorded many of his compositions on the then, new technology of gramophone records. Apart from all this, however, he seems to have avoided public attention.
His Komuz went everywhere with him – it was with him when he prayed and he carried it in his bosom when he left the house. Whenever he travelled away from home he always travelled light taking only the bare essentials for living – and his instrument. He is reputed to have played the Komuz all day long. His younger relatives would leave for school in the morning to the sound of his playing and when they returned home he was still playing.
For some reason, he only ever wrote in Arabic.
He was a strong believer in Islam. He finished his studies at a Madresh in Ananyevo, learning Arabic and spending a lot of time in prayer. He refused to have his photograph taken – declaring that it was against the Muslim faith – and only one known photograph of him is known to exist – taken by one his nephews.
Despite the fact that he had five wives – when he died at the age of 77 on July 8th, 1960. He left no heir.
Bishkek