Many people take gyjak as accompanying, exclusively ensemble instrument, creating musical outline for performance of bahshy or dutar players. But, it is not quite so. Owing to masterly performance of such outstanding musicians as People’s Artist of Turkmenistan Annageldi Julgayev, “gyjak” was ranked among solo instruments. Owner of the International Prize named after Magtymguly, teacher of the Turkmen National Conservatoire Annageldi Julgayev is living legend of the Turkmen musical art.
We have met with the master and mentor, and asked him to tell about his creative development, musicians, who helped him to become professional and about gyjak.
- My uncles on my mother’s side exerted extreme influence on my formation as musician, - started his story Annageldi Julgayev. – Purli, Oraz and Nury Sariyevs were the talented musicians, composers and interpreters. In 1938, I entered the musical technical secondary school, where within two years I was trained in classes of violin by teacher Aram Vartanov. Incidentally, the future star of vocalism Medeniyet Shahberdiyeva also trained to play this instrument together with me. Afterwards, I transferred most of violin materials to gyjak since these instruments are kindred.
In 1941, an orchestra of folk instruments was opened in Ashgabat. I was fated to work 65 years there. The fate brought me together with famous musical worker Gregory Markovich Arakelyan. Owing to his insistence, I took conductor's baton in hands. In 1950, I entered the conductor-choral department of the musical school named after Dangatar Ovezov.
- Annageldi Julgayev, tell us in what countries have you performed?
- With the folk orchestra, I traveled many countries of the world: Afghanistan, India, and Indonesia, Turkey, Iran, France, Sweden, Finland, Algeria, Sri Lanka, Canada, Hungary, China, Vietnam and some other countries. Everywhere, we played Turkmen music and music of the country, where we were on a visit. It was a tradition and certainly evoked enthusiasm of the audience. At the same time, such order expanded our repertory.
- Annageldi Julgayev, have had you a funny incident in your life you would like to tell about?
- In 1960, I performed in Jakarta and the President of Indonesia was present at the concert hall. I played the overture from the opera “Carmen” by George Bize and I was accompanied by a Moscow concertmaster. Unfortunately, I forgot his surname. Being on the stage, I found with horror that pitch of my instrument and pitch of the piano deferred in half a tone. What to do? It was late to tune up the instrument. I looked at the accompanist meaningfully and he understood me. We played the overture and my concertmaster played lower by half a tone. When we came behind the scenes after applauses of the audience, he said “Gee!” mopping from his brow the sweat. Many years later, I remember this incident and thank my colleague for his professionalism. What it is to be a real master!
We have met with the master and mentor, and asked him to tell about his creative development, musicians, who helped him to become professional and about gyjak.
- My uncles on my mother’s side exerted extreme influence on my formation as musician, - started his story Annageldi Julgayev. – Purli, Oraz and Nury Sariyevs were the talented musicians, composers and interpreters. In 1938, I entered the musical technical secondary school, where within two years I was trained in classes of violin by teacher Aram Vartanov. Incidentally, the future star of vocalism Medeniyet Shahberdiyeva also trained to play this instrument together with me. Afterwards, I transferred most of violin materials to gyjak since these instruments are kindred.
In 1941, an orchestra of folk instruments was opened in Ashgabat. I was fated to work 65 years there. The fate brought me together with famous musical worker Gregory Markovich Arakelyan. Owing to his insistence, I took conductor's baton in hands. In 1950, I entered the conductor-choral department of the musical school named after Dangatar Ovezov.
- Annageldi Julgayev, tell us in what countries have you performed?
- With the folk orchestra, I traveled many countries of the world: Afghanistan, India, and Indonesia, Turkey, Iran, France, Sweden, Finland, Algeria, Sri Lanka, Canada, Hungary, China, Vietnam and some other countries. Everywhere, we played Turkmen music and music of the country, where we were on a visit. It was a tradition and certainly evoked enthusiasm of the audience. At the same time, such order expanded our repertory.
- Annageldi Julgayev, have had you a funny incident in your life you would like to tell about?
- In 1960, I performed in Jakarta and the President of Indonesia was present at the concert hall. I played the overture from the opera “Carmen” by George Bize and I was accompanied by a Moscow concertmaster. Unfortunately, I forgot his surname. Being on the stage, I found with horror that pitch of my instrument and pitch of the piano deferred in half a tone. What to do? It was late to tune up the instrument. I looked at the accompanist meaningfully and he understood me. We played the overture and my concertmaster played lower by half a tone. When we came behind the scenes after applauses of the audience, he said “Gee!” mopping from his brow the sweat. Many years later, I remember this incident and thank my colleague for his professionalism. What it is to be a real master!
