KARAKEMER
by Kuat Shildebayev
Kuat Shildebayev, a distinguished composer, was born on July 9, 1957, in the village of Karakemer, Enbekshi Kazakh District, Almaty Region, Kazakhstan. In 1981, he graduated from the Kurmangazy Almaty State Conservatory, specializing in composition under the guidance of Gaziza Zhubanova, a People’s Artist of the USSR. Since 1983, he has been a member of the Union of Composers of the USSR, and later joined the Union of Composers of the Republic of Kazakhstan and the Union of Cinematographers of the Republic of Kazakhstan. Recognized as an Honored Figure of the Republic of Kazakhstan, Shildebayev has received numerous accolades, including two EMA Awards in 2012 for "Best Composer of the Year" and "Best Sound Track."
For his significant contributions to the development of Kazakh cinema, he was honored by the Association of Film Critics of Kazakhstan for his unique project—composing music for the film Turksib—which had its premiere in London in 2017 as part of a broader initiative. This achievement earned him the "Kulager 2018" award. In 2019, he was named a Golden Laureate of the Eurasian International Award for his invaluable contributions to the development of Eurasian musical culture. In 2024, he received the First Prize at the Republican Competition "Voice of the Steppe 2024" in the "Chamber Music" category and was also awarded the "Golden Man—Person of the Year" prize, along with a State Scholarship.
Shildebayev’s creative output spans a wide range of musical genres. In the academic tradition, he has composed symphonies, chamber works, choral pieces, and ballets. In folk music, he has crafted kuis for traditional instruments. His work extends to cinema—scoring feature films, documentaries, and animations—as well as theatrical productions and popular music.
He has released four CDs:
Shildebayev’s symphonic repertoire includes notable works such as a chamber symphony, a piano concerto, a concertino for kyl-kobyz, organ, and string orchestra, and "Pastoral" for organ and orchestra. Many of his piano compositions are featured in international competition programs, and his works are performed in the finest venues in Kazakhstan and abroad.
As a ballet composer, Shildebayev has created scores for Tamyr, Geometry of Feelings, Proto Adam, Zhusan, and Zhelturanga, as well as music for Bulat Ayukhanov’s troupe. He has collaborated closely with renowned theater director Bulat Atabayev on several productions and worked with German director Hanni on Wozzeck.
His cinematic contributions include soundtracks for films by leading Kazakh directors, such as:
Shildebayev’s creative pursuits are characterized by his introspective, metaphysical vision, manifesting in the multifaceted originality of his musical language.
His art resonates through soundtracks to some of Kazakh cinema’s finest works, the vibrant echoes of ballets like Tamyr and Adam, and the crystalline fragility of emotionally rich chamber melodies. Rooted in his native heritage, Shildebayev’s talent amplifies the inner strength of the human spirit, transforming sacred individual knowledge into music that speaks, evoking imagery and reshaping reality. His compositions are akin to the dancing shadows of shamans—visual, tangible, and illusory all at once. They embody the music of the steppe’s echoes and the caravans of bygone eras, a call to journey forth.
In 2025, with the publication of Karakemer by Global Music Partnership Press, Kuat Shildebayev became the first composer from Kazakhstan to have his work published in the United States, marking a significant milestone in his international recognition.
For his significant contributions to the development of Kazakh cinema, he was honored by the Association of Film Critics of Kazakhstan for his unique project—composing music for the film Turksib—which had its premiere in London in 2017 as part of a broader initiative. This achievement earned him the "Kulager 2018" award. In 2019, he was named a Golden Laureate of the Eurasian International Award for his invaluable contributions to the development of Eurasian musical culture. In 2024, he received the First Prize at the Republican Competition "Voice of the Steppe 2024" in the "Chamber Music" category and was also awarded the "Golden Man—Person of the Year" prize, along with a State Scholarship.
Shildebayev’s creative output spans a wide range of musical genres. In the academic tradition, he has composed symphonies, chamber works, choral pieces, and ballets. In folk music, he has crafted kuis for traditional instruments. His work extends to cinema—scoring feature films, documentaries, and animations—as well as theatrical productions and popular music.
He has released four CDs:
- Proto Adam (ballet music)
- Emshan
- Phantoms of DNA
- Songs of Kuat Shildebayev
Shildebayev’s symphonic repertoire includes notable works such as a chamber symphony, a piano concerto, a concertino for kyl-kobyz, organ, and string orchestra, and "Pastoral" for organ and orchestra. Many of his piano compositions are featured in international competition programs, and his works are performed in the finest venues in Kazakhstan and abroad.
As a ballet composer, Shildebayev has created scores for Tamyr, Geometry of Feelings, Proto Adam, Zhusan, and Zhelturanga, as well as music for Bulat Ayukhanov’s troupe. He has collaborated closely with renowned theater director Bulat Atabayev on several productions and worked with German director Hanni on Wozzeck.
His cinematic contributions include soundtracks for films by leading Kazakh directors, such as:
- The Fall of Otrar (dir. Ardak Amirkulov, 1991)
- Forget About Me (dir. V. Pusurmanov, 1993)
- Dream Within a Dream (dir. S. Aprymov, 1993)
- Stranger (dir. T. Suleymenov, 1993)
- You Need a Puppy (dir. T. Kamysbekov, 1994)
- Abay (dir. A. Amirkulov, 1995)
- Allazhar (dir. K. Abenov, 1995)
- Hunter’s Family (dir. Sh. Musina, 1995)
- Island of Renaissance (dir. R. Abdrashev, 2004)
- Guiltless Sin (dir. B. Sharip, 2005)
- Trackman (dir. Zh. Zhetruov, 2006)
- Holy Sinner (dir. B. Omar, 2006)
- Little Angel (dir. R. Alpiyev, 2007)
- Hour of the Wolf (dir. R. Alpiyev, 2007)
- Mustafa Shokay (dir. S. Narymbetov, 2008)
- Gift to Stalin (dir. R. Abdrashev, 2008)
- Sky of My Childhood (dir. R. Abdrashev, 2011, about the president’s youth)
- Aldar Kose (dir. D. Makhamatdinov, 2011)
- A multi-episode film about Kulyash Bayseitova (2013)
- Farewell, Gulsary (dir. A. Amirkulov, 2008)
Shildebayev’s creative pursuits are characterized by his introspective, metaphysical vision, manifesting in the multifaceted originality of his musical language.
His art resonates through soundtracks to some of Kazakh cinema’s finest works, the vibrant echoes of ballets like Tamyr and Adam, and the crystalline fragility of emotionally rich chamber melodies. Rooted in his native heritage, Shildebayev’s talent amplifies the inner strength of the human spirit, transforming sacred individual knowledge into music that speaks, evoking imagery and reshaping reality. His compositions are akin to the dancing shadows of shamans—visual, tangible, and illusory all at once. They embody the music of the steppe’s echoes and the caravans of bygone eras, a call to journey forth.
In 2025, with the publication of Karakemer by Global Music Partnership Press, Kuat Shildebayev became the first composer from Kazakhstan to have his work published in the United States, marking a significant milestone in his international recognition.
The küy Karakemer was created in 1983 as a sincere tribute to the composer's homeland, which provided inspiration and strength. Its title is not just a geographical reference but is a symbol of the composer's childhood, a voice of memory that preserves every sound and breath of the native nature. In this work, the composer sought to combine the profound philosophy of folk music with personal reflections on what makes a person part of something greater—one's land, people, and history.
Initially written for the qyl-qobyz, this küy incorporates the rich tonal colors for which this ancient instrument is renowned—from the whisper of the wind to the cry of birds, from meditation to bursts of passion. The melodies revive the breath of the past, which, like a thin thread, intertwines with the author's contemporary musical explorations.
Karakemer was later orchestrated for qyl-qobyz and string orchestra. This piece became known for its melodic beauty, reflecting echoes of the past through a modern vision. Since its composition, the küy has gained popularity among listeners and performers, often being performed at competitions as an expansive Kazakh piece. Thanks to its convenient form and the versatility of its musical material, Karakemer's solo part has been adapted for numerous Western instruments such as flute, viola, cello, and violin.
In 2008, the piece was performed by the world-renowned Kronos Quartet, alongside compositions by Alfred Schnittke and Steve Reich, underscoring its international recognition.
Karakemer is not just music but a revelation, a conversation with the native land filled with a deep connection to it. This work continues to live, sounding on various instruments and inspiring musicians around the world. Each sound contains a piece of the author's soul and an infinite love for his homeland.
– Aidana Shildebayeva
Initially written for the qyl-qobyz, this küy incorporates the rich tonal colors for which this ancient instrument is renowned—from the whisper of the wind to the cry of birds, from meditation to bursts of passion. The melodies revive the breath of the past, which, like a thin thread, intertwines with the author's contemporary musical explorations.
Karakemer was later orchestrated for qyl-qobyz and string orchestra. This piece became known for its melodic beauty, reflecting echoes of the past through a modern vision. Since its composition, the küy has gained popularity among listeners and performers, often being performed at competitions as an expansive Kazakh piece. Thanks to its convenient form and the versatility of its musical material, Karakemer's solo part has been adapted for numerous Western instruments such as flute, viola, cello, and violin.
In 2008, the piece was performed by the world-renowned Kronos Quartet, alongside compositions by Alfred Schnittke and Steve Reich, underscoring its international recognition.
Karakemer is not just music but a revelation, a conversation with the native land filled with a deep connection to it. This work continues to live, sounding on various instruments and inspiring musicians around the world. Each sound contains a piece of the author's soul and an infinite love for his homeland.
– Aidana Shildebayeva
The küy "Karakemer" opens with philosophical reflections on the destiny of the composer’s homeland, rooted in the epic tradition of narrating the past. Its structure reflects the form of saryn, characteristic of the baksy performance style. This küy employs metrical freedom, rhythmic aleatoricism, and a variety of dynamic and tempo techniques, creating a new system of expressive means distinct from classical and Romantic approaches.
To perform "Karakemer" on the violin, the instrument’s tuning has been altered: the G string is lowered to D in the small octave. This adjustment mimics the bass D sound of the kyl-kobyz and preserves the work’s original timbre.
The performer’s primary task is to interpret the music freely—an approach that actively shapes the musical image by infusing it with individuality, emotion, and stylistic nuances within the bounds of tradition. In Kazakh musical culture, such free interpretation is tied to oral traditions and improvisation, a defining feature of its heritage.
Performance Guidelines:
To perform "Karakemer" on the violin, the instrument’s tuning has been altered: the G string is lowered to D in the small octave. This adjustment mimics the bass D sound of the kyl-kobyz and preserves the work’s original timbre.
The performer’s primary task is to interpret the music freely—an approach that actively shapes the musical image by infusing it with individuality, emotion, and stylistic nuances within the bounds of tradition. In Kazakh musical culture, such free interpretation is tied to oral traditions and improvisation, a defining feature of its heritage.
Performance Guidelines:
- Contextual Understanding: The title "Karakemer" refers to the composer’s native village in Kazakhstan, lending the piece a personal and emotional depth. Performers should convey this connection, evoking profound sentiment and nostalgia.
- Technical Mastery: The work demands a high level of instrumental proficiency. Pay careful attention to refining technical elements such as position shifts, double stops, and specific violin techniques that emulate the kyl-kobyzsound.
- Dynamic Expression: Highlight dynamic contrasts between soft and loud passages to build emotional tension and sustain the listener’s engagement.
- Tempo and Rhythm: Adhere to the indicated tempo while allowing subtle rhythmic variations to emphasize the melody’s distinctive character. Maintain the piece’s pulse and rhythmic framework.
- Interpretation: Beyond its technical challenges, prioritize the artistic essence of the performance. Aim to capture the mood and imagery intended by the composer, blending your individuality with an informed understanding of the music.
- Reference Recordings: Explore various interpretations of "Karakemer" to appreciate the range of approaches. This will aid in shaping your own vision of the piece.
The Meaning of the Word “Baqsy”
The term baqsy refers to a shaman or healer in the traditional culture of the Kazakhs and other Turkic peoples. In music, baqsy küy is a distinct genre of instrumental music associated with shamanic rituals. These melodies were often performed on the dombra, kobyz, or other traditional instruments, accompanying the ceremonial actions of the baqsy, which were aimed at expelling spirits or facilitating healing.
Shamanic melodies were characterized by specific rhythms, repetitive motifs, and a mystical atmosphere, which aided in inducing a trance-like state.
The Meaning of the Word “Saryn”
Saryn is a genre of Kazakh instrumental music, particularly prominent in dombra küys. These melodies convey philosophical reflections, historical events, natural phenomena, or profound emotions.
Saryn melodies can be categorized into several types:
The term baqsy refers to a shaman or healer in the traditional culture of the Kazakhs and other Turkic peoples. In music, baqsy küy is a distinct genre of instrumental music associated with shamanic rituals. These melodies were often performed on the dombra, kobyz, or other traditional instruments, accompanying the ceremonial actions of the baqsy, which were aimed at expelling spirits or facilitating healing.
Shamanic melodies were characterized by specific rhythms, repetitive motifs, and a mystical atmosphere, which aided in inducing a trance-like state.
The Meaning of the Word “Saryn”
Saryn is a genre of Kazakh instrumental music, particularly prominent in dombra küys. These melodies convey philosophical reflections, historical events, natural phenomena, or profound emotions.
Saryn melodies can be categorized into several types:
- Zhoryq saryndary: Marching melodies that evoke the spirit of battles and journeys.
- Tarikhi saryndar: Melodies connected to historical events.
- Lirikalyk saryndar: Lyrical, emotionally expressive compositions.
The score will be available for purchase, and solo and orchestral parts will be available for rental by clicking here
Original version
Other versions
Karakemer Score Presented to Loeb Music Library
HARVARD UNIVERSITY
HARVARD UNIVERSITY
Karakemer Score Presented to
New York Public Library
New York Public Library
