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Mausoleum of Dauletkerey Shygayuly.

Sightseeing tours in Western Kazakhstan.

“Great composers have always and above all paid attention to the melody, as the leading principle in music. A melody is music, the main basis of all music, because a perfect melody implies and brings to life its harmonious design.”

Chekhov A.P.

A trip from Atyrau to the village of Khan's placing.

In the Bokeyordynsky historical and museum complex in the village of Khan placing, a mausoleum was built over the grave of akyn in the Bokeyordynsky district of West Kazakhstan region. The mausoleum is located 3 kilometers from the village of Khan-Ordasy at the family cemetery.
The height of the mausoleum is 7.8 meters, the diameter is 4.5 meters. The author and architect of the mausoleum is Copbol Demesinov. Dauletkerei was born in the spring of 1820 in the then Horde aul of the Inner Horde (now the village of Khan Ordasy, Bokeyordinsky District, West Kazakhstan Region).
His father, Sultan Shigay Nuraliev, temporarily (1815 - 1823) ruled the Inner (Bokeevskaya) Horde after the death of Khan Bokey, being regent of the underage future khan Zhangir Bokeyev. He died when Dauletkerei was only five years old, and the cousin, Sultan Mendigirey Bukeykhanov, the richest and most influential man in the Bukeev Horde after Khan Zhangir, took care of his upbringing.
As a child, Dauletkerei studied Muslim literacy with a mullah. Khan Zhangir, educated in Russia, created opportunities for children to receive Russian education in the Horde. Dauletkerei learned to speak Russian, knew how to read and write Russian.
He was nicknamed the educated boy. But he stood out for his ability to play dombra. He learned the mastery of playing this instrument from the excellent dombra player Musirala Berdaly-ula. Drama artists and musicians from Saratov were invited to the Horde, which became the winter center of the Sultans, in the early 40s of the XIXth century.
There is evidence that Dauletkerei was familiar with Russian and European music from childhood. He played well on the Russian balalaika, knew how to play the guitar and mandolin. In his youth, Dauletkerei witnessed the popular liberation uprising of the Kazakhs of the Bukeev horde (1836 - 1838) under the leadership of Isatay Taimanov and Makhambet Utemisov against Russian colonization and the viceroy tsar Khan Zhangir, who left his mark on the work of kyusha.
In 1851, Dauletkerei Shigaev became the ruler of the Serkesh clan. He falls into the number of representatives of the Kazakh people at the celebrations on the occasion of the coronation of Tsar Alexander II in 1855.
On this journey to St. Petersburg, he heard and saw many interesting things that he had not seen or heard before, he heard the works of European composers performed in orchestra. In 1861, Dauletkerei was appointed the ruler of the clan in Kyzylkurt, there a year later he met with the "father" of the kuev - Kurmangazy.
Dauletkerey during the meeting played his cu “Bulbul” (Nightingale). Kurmangazy really liked the play, he included it in his repertoire and even composed a peculiar paraphrase on this subject. Playing each other, Kurmangazy and Dauletkerey borrowed a lot from each other.
A well-known Kazakh musicologist, academician Akhmet Zhubanov writes: “Conversations with Kurmangazy, meetings with other dombra players who performed kui in a traditionally folk manner had a great influence on the musical work of Dauletkerei.”
The subsequent cuys of Dauletkerei “Topan” and “Giger”, expressing the people's desire for freedom, at the same time reflect the thoughts of a person who has suffered a lot in life, courageous, restrained, serious.
The collector of Kazakh folk works Alexander Zataevich wrote about the Zhiger cue: “In this cue the sounds exceed the capabilities of the dombra, beat over the edge, boil. This work, written at an elevated pace, is of great importance. "
In the last three decades of the life of a wonderful kyusha, a real flowering of creativity has begun. Cui appear, perfect in skill and depth of content. Dauletkerey died on May 4, 1887. He left a significant musical heritage that influenced the further development of folk instrumental music in Kazakhstan.
In the early 40s, the first famous cuys of Dauletkerei “Kyz Akzhelen” and “Kos-alka” were created. The impetus for composing the plays performed by the dombra was the life impressions of akyn. In one case - a meeting with a skilful dombrist and a very beautiful girl Akbala-kyz.
Kyu-Kyz-Akzhelen is dedicated to her. This is the first attempt by Dauletkerey to create a portrait sketch in music. Alexander Zataevich, who recorded this work, noted: “Its middle part is very beautiful and fresh, where a beautiful melody sounds in a high register of the dombra, as if intonated by girlish voices.”
Kui "Kos-Alka" - one of the most popular works of Dauletkerei. According to academician Akhmet Zhubanov, the musical content of the kyu conveys the peaceful sway of women jewelry while walking. This perception is promoted primarily by the rhythm of the cuy, consisting of uniform eighths and quarters, as well as the smooth lines of the melody, folding in small ascending and descending intonation tunes. The form of kyui is traditional, it consists of several sections, in which the main theme is held in different registers. In this regard, the kyu "Kos Alka" can be considered mono-thematic.
The following two works, “Konyr-kuy” and “Kos Shek”, created during the search for new means of expression, are innovative. Zataevich called “Konyr-kyu” a real elegy and gave the following characterization of these two kyuyms: “Two pieces, in their content generalized by the restless and pathetic beginning of somewhat emphasized expressiveness and, by the nature of their high-pitched melodic formulas, seemingly overflowing the boundaries of a typical Kazakh instrumental melody and methods of its development."
Kui "Giger" was created during the years of severe mental crisis. "Gigue" is a work of tremendous tragic power and emotion, conveying the alarming spirit of its time. Kui "Kudaysha." The kui opens with the traditional introductory material bass buyn.
Throughout kyu, the introductory material is repeated several times, delimiting other sections of the form. The main theme is a detailed construction, consisting of several melodic phrases, each of which ends with a flowing intonation.
Kui Kyz Akzhelen. Among the early works of Dauletkerey “Kyz Akzhelen” is the most mature work. Kui is remarkable for its amazing melody, the naturalness of the deployment of musical material, and the perfection of form.
The cue contains all the main sections of the traditional form of cuis in Western Kazakhstan: bass buyn, orta buyn and saga. The works of Dauletkerey demonstrate progressive social views, the philosophy of life, the lyrics of the time, the history of the people.
Especially vividly in his cues are pictures of nature and its beauty. In total, akyn composed about a hundred instrumental works for dombra in his life. According to the famous music researcher Akhmet Zhubanov, Dauletkerey’s nephew Nausha Bokeykhanov, who lived in Soviet times, played about 50 of his cues.

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