Today our media department talked to a beautiful, young and motivated participant of Global Talent Confederation – Shakhnaze Ilyassova from Karaganda, Kazakhstan. At such a young age, she has already won many prizes in face-to-face and online competitions, achieved success with her students and attracted media attention. Shakhnaze told us about her creative journey and development as a musician, sharing inspiring moments of her story.
Shakhnaze, please tell us what inspired you to choose the prima kobyz?
When I was still a child, my mum took me to a music school where she herself had once learnt to play the dombra and piano. She wanted me to choose an instrument she didn’t play, and our choice was the prima kobyz. My interest in this instrument was always supported by my grandmother, Bagzi Sayfiddinovna, and my father always accompanied me to competitions and festivals, inspiring me to new achievements.
Could you tell a little about the history and significance of the kobyz in culture?
In Kazakhstan, the first stringed bow instrument created by Korkyt-Ata was the kyl-kobyz. This shamanic instrument was used to perform sacred music, summon spirits, and conduct rituals, embodying the strength and wisdom of ancient traditions. The prima-kobyz, which I play, was created based on this ancient instrument. The word “prima” indicates the leading role of the instrument in an ensemble or orchestra. In the 1930s, when Kazakh folk instruments began to be adapted for orchestral performance, there was a need for melody. The prima-kobyz was created for the Kazakh folk orchestra, but today it is also relevant in solo performances. It has four strings, like a violin, and the same tuning, but it is held on the knees and played not with the fingertips, but with the cuticle of the nail.
Do you have any favorite compositions that you perform on the kobyz?
I don’t limit myself to a specific genre. I am fond of classical music, as well as works from the Romantic, Baroque, and Impressionist eras (L.V. Beethoven, F. Chopin, E. Satie, etc.), as well as modern compositions (D. Hisaishi, Y. Tiersen, E. Grinko, Michael Jackson, etc.).
How do you prepare for performances? What challenges do you face when playing music on the kobyz?
Before a performance, I carefully check the tuning of the kobyz to ensure everything is set correctly and the instrument is ready to play. The prima-kobyz can perform everything that a violin can, but sometimes there are passages that are technically challenging for the kobyz. In such cases, I look for ways to convey the main melody and strokes as expressively as the violin does.
What advice would you give to beginner musicians who want to learn to play the kobyz?
The main thing is to find a good teacher who understands your musical taste and opens new horizons for you. Don’t be afraid of mistakes, maintain discipline, and know that tomorrow will be easier than yesterday.
How does the audience usually react to your performance? Are there any memorable moments?
I am incredibly pleased when the audience appreciates my performances and those of my students, expressing it with applause or requests for an encore. I value when organizers inquire in advance about how to properly announce me on stage, and I enjoy continuing friendly collaborations with cultural figures. The audience often notes the depth of the kobyz’s sound and its similarity to the violin. One of the most memorable moments in my career happened at an international competition where I represented Kazakhstan. I was very nervous because it was a big responsibility to represent not just a city or region, but an entire country. Before my performance, a teacher approached me and asked which country I was representing. I told him I was from Kazakhstan and admitted that I was a bit scared. He smiled and said, “Wait here, I have good news for you!” A few minutes later, he returned with a bar of Kazakh chocolate and said, “Enjoy, let this be a pleasant reminder of your homeland. Believe that you will succeed.” This support gave me confidence, and I won first place.
