17. Ghazizdin ani
Sary-Arqa is also identified with the art of singers (änshi), poet-improvisers (aqyn) and versatile artists akin to medieval troubadours or minstrels (sal-seri), who travelled across the region, welcomed at major celebrations and fairs for their poetic eloquence and vocal skills. The tradition reached its zenith in the late nineteenth and early twentieth century with singer-poets such as Segiz-seri Bahramūly, Birjan-sal Qojaghūlūly and the great philosopher, poet and songwriter Abai Qūnanbaev. The hallmark of the Arqa singing style is an expressive lyrical cantilena punctuated by high, sustained notes delivered in a powerful, resonant voice reflective of the acoustic conditions of Arqa’s wide open spaces. Described as the Kazakh bel canto, this style since the 1930s has inspired the operatic scene in Kazakhstan.
Serjan Mūsaiyn, a singer from Qaraghandy known for its masters Mädi Bäpiūly, Jüsipbek Elebekov and Bekbolat Tileukhan, Serjan’s tutor, features songs by Arqa’s celebrated composers (Tracks 15–17, 19) and a folksong (Track 18), evoking images of love, romantic chivalry and philosophic meditation. His singing to a dombra accompaniment in the shertpe style that largely echoes the vocal line underscores the fine melodious qualities and sophisticated artistry of Arqa songs.
17. Ghazizdiŋ äni (Ghaziz’s Song), Ghaziz Faizollaūly
I have been called Ghaziz-aqyn since childhood.
There is no aqyn superior to me in Qaraötkel.
I have led both racer and ambler by the bridle,
I have not yet been disappointed by curved eyebrows.
Oh, transitory life, you have passed by.
I have had my time of merriment.
Under the impulse of youth,
I had a merry time.
My father’s name is Faizolla, my name is Ghaziz,
Even though you say that my forefather was a semi-Kazakh,
Owing to one or two expressions of art,
I have made the acquaintance of people from all three hordes.