Worlds of Music; Music & dance of central Asia : Ilyas Malayev's Ensemble Maqom
- Series
- Worlds of Music
- Producing Organization
- World Music Institute
- Contributing Organization
- WNYC (New York, New York)
- AAPB ID
- cpb-aacip/80-117m0xcc
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- Description
- Program Description
- WORLD MUSIC INSTITUTE PRESENTS MUSIC & DANCE OF CENTRAL ASIA ILYAS MALAYEV'S ENSEMBLE MAQOM ILYAS MALAYEV, tar, vocals; MUHABBAT SHAMAYEVA, vocals ZULFIRA ASANOVA, dance; ILYAU ABRAMOV, vocals, tar OCHIL IBRAGIMOV, vocals, tar; ILYAU KHAVASOV, vocals; MATAT BARAYEV, doira; ROMAN NARKALAYEV, violin PART I Bukharan Jewish wedding songs ENSEMBLE MAQOM From the fourth maqom Dugoh Chapandozi Kalandari ILYAU KHAVASOV From the first Maqom Buzrak - Ufari Iroki Buchoro ILYAU KHAVASOV Uzbek Songs Koshi Yosi Asli Yor Dilbari yagonai-man ILYAU ABRAMOV and ZULFIRA ASANOVA Tulkuni Buchoro (lyrics by Ilyas Malayev) Ufari Tulkuni Buchoro (lyrics by Ilyas Malayev) ILYAS MALAYEV Intermission PART II Fragments from the fourth maqom Dugoh Sarahbori Oromi Jon Ufari Oromi Jon OCHIL IBRAGIMOV Uzbek songs Kochalar Yalalum (written by Ilyas Malayev) ILYAS MALAYEV Solo Dance ZULFINA ASANOVA First part of Maqom Buzruk - Ufari uzol ENSEMBLE MAQOM Production management by Tour De Force. This program has been made possible in part with public funds made available by the National Endowment for the Arts and the New York State Council on the Arts. ABOUT THE PROGRAM: MUSIC OF BUKHARA Bukhara, located in the central part of the modern Uzbek Republic, is one of the oldest cities of Central Asia. In ancient times a center of Buddhism, after the Arab conquest in the early 8th century it became one of the foremost cities of the Islamic World. After the breakup of the Uzbek Khanate in 1598 up until 1920 Bukhara was the capital of an independent amirate. The modern classical musics of both Uzbekistan and Tajikistan are based mainly upon the nineteenth century court music of Bukhara. This Bukharan court music, known in Persian as the Shashmaqom ("the six suites") developed from the middle of the eighteenth to the middle of the nineteenth centuries. It was a combination of the medieval Persian music which had been played previously in Bukhara with newer musical influences coming from eastern Turkestan and North India. At the same time Iran itself broke with much of her medieval musical heritage and created the modern dastgah system, so that today, despite their use of many of the same Persian poetic texts, the Bukharan Shashmaqom and the Persian dastgah have little in common musically. The Bukharan Shashmaqom is an elaborate suite form featuring a series of instrumental pieces; tasnif and tarje in 2/4 time, gardun in 9/8 and muxammas in 32/4. These are followed by a series of vocal pieces in contrasting rhythms, known as saraxbar in 2/ 4, talqin in 9/8, nasr in 6/4 and ufar in 6/8. The melodic function of each line of every compositional form is fixed. The first line, known as daromad states the initial range of the mode, the second (miyanparda) and third (dunasr) are sucessively higher, and these are followed by several lines (known as namuds) which modulate to other modes. The final line returns to the original range of the daromad. The highest lines of each piece are known as the awj, and here the soloist is permitted to create somewhat original phrases in each performance. Although all of these items in the Shashmaqom were metrical and pre-composed, the Bukharan court-singers developed a technique, known as ghazal-ronni in which they rephrased the melodies during performance so that they stretched unevenly over the beats of the rhythmic cycle. While the patrons of the Shashmaqom were mainly the Uzbek amirs and nobility and the Tajik merchants of Bukhara, during the nineteenth century its major performers were often Jews or Muslims of Jewish origin. The Shashmaqom was transmitted into the early 20th century by such masters as Levi Babakhanov, Israel and Mikhael Talmasov, Levi Mullajanov, Gavriel Mullaqandov and Yusuf Aminov. No other Islamic music was as dependent upon Jewish performers and teachers as was the Shashmaqom. This pattern continued into the Soviet era with such artists as Yunus Rajabi (1897-1976) an Uzbek musician from Tashkent who learned the Shashmaqom form Bukharan Jewish master musicians and used it as a major element (along with the Chaharmaqom cycles of his native Tashkent-Farghana) of the new national art music of Uzbekistan. Jewish maqom performers continued to be prominent in Tashkent and Dushanbe, as well as Bukhara. The present ensemble, led by the composer-performer Ilyas Malayev maintains this Jewish performing tradition of the Shashmaqom. The professional Jewish musicians of Bukhara were also associated with another, lighter musical repertoire used for weddings and other celebrations. Prior to the Soviet period this music and the dancing which it accompanied were virtually the exclusive property two prominent groups of musiciansthe Jews and the resident Persians (the "Iranis"). The Jewish performers were usually female, organized in large song and dance ensembles. In Soviet times the professional distinctions of the maqom and wedding musicians became somewhat blurred, and Jewish maqom musicians today frequently can perform the wedding repertoire as well. The dance component of these performances is a solo form which remains distinct from the more widely known style of Tashkent, which combines the Turkic Farghana Valley dance with modern ballet influences. The Bukharan women's dance is closer to the Tajik tradition, and has absorbed fewer ballet influences. ABOUT THE ARTISTS: ILYAS MALAYEV was born in 1936 in the town of Katta Qurgan near Samarqand. He was trained as a violinist in the Bukharan style, and from 1957 until his emigration in 1992 he had been a performer on both the violin and the Azerbaijani tar at the Tashkent radio. His fame in Uzbekistan rested upon his virtuosity as a performer on the tar, as well as his numerous compositions in a variety of Central Asian genres and styles. Many of his compositions use his own poetry in the Persian and Uzbek languages; he employs traditional forms and imagery and draws upon his wide knowledge of the classical poetic traditions in these languages. Mr. Malayev is also an accomplished singer and a fine performer on the Uzbek tanbur. He has devoted extensive study to two foreign musical stylesthe mugham art music of Azerbaijan and the raga of North India, which he can perform on the sitar. When the large-scale emigration of Jewish maqom musicians suddenly began in 1992 Mr. Malayev naturally came to be the musical leader of the group which arrived in the New York area. ILYAU ABRAMOV of Samarqand was one of the leading performers in popular celebrations in Samarqand and Tashkent. OCHIL IBRAGIMOV from Bukhara is a graduate of the Tashkent State Conservatory, and led several ensembles before emigrating to the U.S. ROMAN NARKALAYEV directed the maqom ensemble of the Tajik Television in Dushanbe. MUHABBAT SHAMAYEVA is a famous singer from the Tashkent Philharmonic. ABOUT THE INSTRUMENTS: TAR: The classical short-necked lute of the Azerbaijani mugham, the tar has been used in Central Asian music since after World War II, but since that time it has tended to replace the tanbur. The tar has three doubled strings, and one bass string, all of steel. The fretting of the tar allows for a 24 four note octave. The strings are plucked with a small metal pick. The Azerbajan tar developed in the eighteenth century from the medieval Iranian rabob. VIOLIN: Like the tar the European violin entered Central Asian music mainly after World War II. The playing style of the violin has been adapted to the Uzbek-Tajik aesthetic. DOIRA: A frame-drum with a very sturdy and heavy body which is hung with metal rings. Frame-drums are typical of southern Central Asia, the South Caucasus and Iran, but the Uzbek-Tajik type are the heaviest, and hence the most difficult to play. Program notes by Walter Feldman University of Pennsylvania
- Genres
- Performance
- Media type
- Sound
- Credits
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Engineer: Haber, Edward
Engineer: Trudel, Irene
Performer: Malayev, Ilyas
Performer: Abramov, Ilyau
Performer: Ibragimov, Ochil
Performer: Narkalayev, Roman
Performer: Shamayeva, Muhabbat
Producing Organization: World Music Institute
- AAPB Contributor Holdings
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WNYC-FM
Identifier: 68025.1 (WNYC Media Archive Label)
Format: DAT
Generation: Original
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WNYC-FM
Identifier: 68025.2 (WNYC Media Archive Label)
Format: audio/vnd.wave
Generation: Dub
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- Citations
- Chicago: “Worlds of Music; Music & dance of central Asia : Ilyas Malayev's Ensemble Maqom,” WNYC, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed May 20, 2025, http://americanarchive.org/catalog/cpb-aacip-80-117m0xcc.
- MLA: “Worlds of Music; Music & dance of central Asia : Ilyas Malayev's Ensemble Maqom.” WNYC, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. May 20, 2025. <http://americanarchive.org/catalog/cpb-aacip-80-117m0xcc>.
- APA: Worlds of Music; Music & dance of central Asia : Ilyas Malayev's Ensemble Maqom. Boston, MA: WNYC, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-80-117m0xcc