Izra Malakov's Bukharian Jewish Folklore Ensemble
Shashmaqom
Tracks:
1. Bukharian jewish Wedding Song
2. Mahvashi Nozuk
3. Gul Pari
4. Yalalum
5. Safar Nakarda Bosham
6. Nozanin
7. Dilbar
8. Nazanad
9. Dari Maykhona Kuzho
10. Navo
11. Man Namerum Khoni Shyou
12. Nigahdorat Khudo Boshad
13. Ghaira-Ghaira
14. Zoring Manam
Izra Malakov, vocals
Ochil Ibragimov, rubab, violin
David Davidov, tar
Malika Kalantarova, dance
Iskak Gilkarov, doira, drum
Tracks:
1. Bukharian jewish Wedding Song
2. Mahvashi Nozuk
3. Gul Pari
4. Yalalum
5. Safar Nakarda Bosham
6. Nozanin
7. Dilbar
8. Nazanad
9. Dari Maykhona Kuzho
10. Navo
11. Man Namerum Khoni Shyou
12. Nigahdorat Khudo Boshad
13. Ghaira-Ghaira
14. Zoring Manam
Izra Malakov, vocals
Ochil Ibragimov, rubab, violin
David Davidov, tar
Malika Kalantarova, dance
Iskak Gilkarov, doira, drum
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Born in 1938 in the city of Shahrizyabz, Uzbekistan, Izra Malakov is a descendent of a long line of rabbis. Arriving in America in 1992, he became a cantor. He has devoted his life to preservation of the Bukharan Jewish musical tradition, and toured the world presenting its exotic melodies, captivating rhythms and entrancing tone colors. The troupe’s Silk Road attire and folk instruments will transport you thousands of miles away and centuries into an unforgettable past.
In folk tradition, Bukharan Jews, who speak a distinct central Asian dialect closely related to Tajiki Persian, sometimes trace their own origins to the exile of the ten tribes of Israel in the seventh century BCE. Bukharan Jewish music, like other aspects of culture, shows a unique blend of Central Asian, Sephardic Jewish and Arab elements.
In folk tradition, Bukharan Jews, who speak a distinct central Asian dialect closely related to Tajiki Persian, sometimes trace their own origins to the exile of the ten tribes of Israel in the seventh century BCE. Bukharan Jewish music, like other aspects of culture, shows a unique blend of Central Asian, Sephardic Jewish and Arab elements.
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Proclamation 2003: "Shashmaqom Music"
Uzbekistan - Tajikistan
For over ten centuries, the classical music tradition of Shashmaqom has evolved in the urban centres of Central Asia formerly known as Mâwarâ al-nahr, an area which now encompasses present-day Tajikistan and Uzbekistan.
Shashmaqom, meaning “six maqoms”, constitutes a fusion of vocal and instrumental music, melodic and rhythmic idioms and poetry. The genre is performed solo or by a group of singers and an orchestra of lutes, fiddles, frame-drums and flutes. Performances generally open with an instrumental introduction followed by the nasr, the main vocal section consisting of two distinct sets of songs.
Dating back to the pre-Islamic era, Shashmaqom was continually influenced by developments in musicology, poetry, mathematics, and Sufism. So popular was the maqom system in the ninth and tenth centuries that numerous music schools were founded, mainly by the Jewish community, in the city of Bukhara, the historical and spiritual centre of Shashmaqom. Shashmaqom genre requires specially trained musicians because the standard notation system can record only the basic framework. Consequently, oral transmission from master to student remains the principal means of preserving the music and its spiritual values.
From the 1970s, many of the best-known Shashmaqom performers emigrated from Tajikistan and Uzbekistan to diaspora communities in Israel and the United States. Since Uzbekistan and Tajikistan gained independence in 1991, many measures have been taken to safeguard Shashmaqom. Only a few performers have maintained local performance styles as taught by independent teachers. With the passing of many Shashmaqom masters, the overwhelming majority of presentday performers in Tajikistan and Uzbekistan are graduates of the Tashkent Conservatory, which offers training in Shashmaqom composition.
Uzbekistan - Tajikistan
For over ten centuries, the classical music tradition of Shashmaqom has evolved in the urban centres of Central Asia formerly known as Mâwarâ al-nahr, an area which now encompasses present-day Tajikistan and Uzbekistan.
Shashmaqom, meaning “six maqoms”, constitutes a fusion of vocal and instrumental music, melodic and rhythmic idioms and poetry. The genre is performed solo or by a group of singers and an orchestra of lutes, fiddles, frame-drums and flutes. Performances generally open with an instrumental introduction followed by the nasr, the main vocal section consisting of two distinct sets of songs.
Dating back to the pre-Islamic era, Shashmaqom was continually influenced by developments in musicology, poetry, mathematics, and Sufism. So popular was the maqom system in the ninth and tenth centuries that numerous music schools were founded, mainly by the Jewish community, in the city of Bukhara, the historical and spiritual centre of Shashmaqom. Shashmaqom genre requires specially trained musicians because the standard notation system can record only the basic framework. Consequently, oral transmission from master to student remains the principal means of preserving the music and its spiritual values.
From the 1970s, many of the best-known Shashmaqom performers emigrated from Tajikistan and Uzbekistan to diaspora communities in Israel and the United States. Since Uzbekistan and Tajikistan gained independence in 1991, many measures have been taken to safeguard Shashmaqom. Only a few performers have maintained local performance styles as taught by independent teachers. With the passing of many Shashmaqom masters, the overwhelming majority of presentday performers in Tajikistan and Uzbekistan are graduates of the Tashkent Conservatory, which offers training in Shashmaqom composition.
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