From the History of the Art of Organ Performance in Kazakhstan: Specific Features of the Instrumental Availability
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Abstract
The author highlights the issues of formation of the art of organ
performance in Kazakhstan and its instrumental basis, marking
out three periods of development. The first period (1967-1987)
is connected with the extrapolation into the Kazakh culture of
the German traditions of organ construction and the mastery of
the achievements of the German and Russian schools of organ
performances. The second period (1988-2004) is connected
with the formation of national instrumental traditions (V.
Tebenikhin, A. Karasayeva, G. Nesipbayev) and the activation of
Kazakh musical composition in the sphere of organ music (Zh.
Dzhumabekov, B. Bayakhunov, S. Abdinurov, S. Yerkimbekov,
et al) and construction of church organs. Composers write works
for solo organ in various genres, as well as compositions for voice
and various instruments and organ; and a festival of Bach’s music
is organized. The third period (from 2005 to the present) is the
contemporary period, signified by construction and inauguration
of new organs in Astana and Karaganda. Presently Kazakhstan
possesses a broad range of instruments of various functions – for
concert use, for instructive purposes, as wel as church organs with
diverse technical and sound characteristic features.
Keywords: musical culture of Kazakhstan, organ, art of
organ performance, organ instrument availability
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