The Music of Uzbekistan

Thirty years ago, when it was decided to expand musical horizons by listening extensively to jazz, classical and world music and less so to "rock," or whatever seemed to fall within that increasingly irrelevant term, it was the exposure to music from all parts of the world that easily became the most exciting element.  Much of what has been collected over those three decades is broadly given the designation of "folk music," as distinct from "classical music," and which generally seems to mean performances outside of concert halls and other venues and more likely to be found at community events, like ceremonies, festivals, weddings and other gatherings, or at work, play and elsewhere in daily life.  In much of the world, that's how many people experience music and that is often the most fascinating to hear given how "professionalized" music is in most of the "West."

Ask 100 people to point out Uzbekistan on the map and it seems certain that all but perhaps a very few would have no idea.  Yet, this Central Asian country, a part of the Soviet Union until the early 90s and north of Iran and Afghanistan, has an amazing history, much of it tied to its central location on the fabled Silk Road, the ancient trade route between the Middle East and China (a previous post here, in fact, was of a two-disc recording of music from points along the Silk Road) and the control of this area by many empires and states.  What is heard on The Music of Uzbekistan, re-released in 2002 by ARC Music, are fourteen pieces reflecting native styles but heavily influenced by the instrumentation and music of other places on that trade route or from controlling empires.  Persians, Turks and Chinese, in particular, left their stamp on the region, both in the "folk" and "classical" music senses with instruments like the ney, chang, tanbut, and surnai, among others being introduced from outside sources, yet stamped with the Uzbek manner of composing and playing.  Recorded in 1970, during the Soviet era, by Deben Bhattacharya, a remarkable figure from Benares, India, who developed a great expertise in ethnic music, poetry and dance, this album is a fascinating window into an ancient culture and its stunning music.

Pamir: Songs and Music from the Roof of the World

This sensational recording from the French label Musique du Monde features the captivating music of the Pamir mountain area of the Badakhshan region of the Central Asia country of Tajikistan, which borders Afghanistan, China and other republics of the former Soviet Union.

The Pamir range is not as well known as the Himalayas, but has peaks that go as high as 24,000 feet and it is a rugged but beautiful area where the famed Silk Road between China and Europe passes and Marco Polo passed through Badakhshan in 1270 to get to China.

While the music of the region dates back many centuries, study of it is relatively recent and recordings were few.  These performances were captured at community events and structures, including at weddings, funerals and dance performances.  Lutes of five and six strings, a fiddle, and a variety of percussion instruments for the basis of the music.  Eight musicians are the performers, including singers as well as instrumentalists with the eldest being in his mid-80s.

In addition to the very information and detailed liner notes, there are some great photographs of musicians and dancers in portrait and performance forms.  The sounds have a lot of influence from Persia and the Shia Ismaili Muslims who live there take a lot of their vocal stylings and lyrical content from spiritual and devotional traditions dating back centuries to poets like Rumi, Hafiz and others.

The isolation of the peoples of the region are reflected in these remarkable recordings which were made in 1991 and 1992 just after the collapse of the Soviet Union and the also show the fascinating meeting point of societies from Central Asia in a part of the world too few of us (this blogger included) in America know enough (if anything) about.