Kyrgyz folk music


01. Folk - Sarah Barpy (Bird Mountain) (Temir SCR komuz)
02. Folk - Labour song (Zhigach SCR komuz)
03. Said Bekmuratov - The way (kyl-kyyak)
04. Karamoldo Orozo - Kambarkan (Komuz)
05. Folk - Call coccyx (Temir komuz SCR)
06. Zhusup Aissa - Childhood (Zhigach SCR komuz)
07. Kudaibergen Urkunchu uulu - Nightingale Song (Komuz)
08. Folk - Pustushya (Sabyzgy)
09. Folk - a herd of horses (kyl-kyyak)
10. Folk - Mountain expanses (Teemore SCR komuz)
11. Muzooke Zhamankara uulu - Sad tune (Komuz)
12. Folk - The Cuckoo (Zhigach SCR komuz)
13. Folk - Improvisation (Tshopo COOP)
14. Niyazaaly Boros uulu - Dedication Brides (Komuz)
15. Folk - - Consolation (kyl-kyyak)
16. Folk - Crying Kunetaya (Temir SCR komuz)
17. Folk - Swing (Komuz)
18. Folk - Two pacers (kyl-kyyak)
19. Toktogul Satylganov - Nine variations (Komuz)
20. Folk - Shepherd's melody (Jong choor)
21. - Excerpt from the epic Manas
22. Musa Seyilkan uulu - Bitterness (Komuz)
23. Folk - Skylark (Temir SCR komuz)
24. Nationalities - Bekarstan (kyl-kyyak)
25. Niyazaaly Boros uulu - Coeur Tolgoi (Komuz)
26. - Excerpt from the epic Manas

  Kyrgyz instrumental music is called küü. For the Kyrgyz, a lack of lyrics does not imply an absence of a narrative, be it heroic, tragic, or comic. At all times, its theme should be clear to listeners. In Kyrgyz Instrumental Music (Society for Asian Music, New York, 1969), Mark Slobin notes of the music's programmatic nature:

   "This basically involves the existence of a story line for each instrumental piece, either so well known to the audience as to need no announcement or specially provided for listeners by the performer through a verbal introduction."

'Kyrgyz Native Instruments' stamp "Kyrgyz Native Instruments"

Stamp from final year of USSR.
Note Russified komuz with frets.

   Flamboyant gestures on the part of the performer may accentuate aspects of the tune's implied story. Kyrgyz instrumental performance tends to be an extrovert's art form, and visual tricks, such as playing the komuz over one's shoulder or between one's knees, are common practice. In the komuz repertoire especially (though not exclusively), the Kyrgyz have developed a genre which demands of its performers a high level of virtuosic skill on a seemingly primitive instrument. Indeed, it might be said in general of Kyrgyz instrumental music that the frequently remarkable musical ends seem contrary to the apparently rudimentary instrumental means.



bolingo69 said...

This one looks very good!
I'm downloading it now, looking forward to listening.

Thank you Miguel....

owlqaeda said...

likewise. thanks toroyloco