Yunus Rajabi Biography

Add to the EC bookmarks on the tight streets of the old city, shrouded in the alluring aromas of freshly baked cakes and flowering trees hastily stepped the boy, tremblingly pressing the dutar to the chest. Every day, he was looking forward to the onset of the evening, when he was among eminent adults, extraordinary musicians, singers and with a sinking heart would listen to their music.

But this evening was a special evening: the boy decided to gain courage and speak to famous musicians, at whom he looked at the celestials. Finally, he got to the goal -the, she, the famous teahouse Ilhoma of the samovar. And she was famous not only for the fact that it was tasty there, national dishes were prepared from the heart and fragrant tea was served, but also by the fact that its owner was the “Tealer”- as everyone called him, was a passionate music lover.

The most popular performers from different parts of Uzbekistan at his invitation performed in it. Portraits of famous musicians were hung on the hay and the whole atmosphere is filled with worshiping music. The evening began, the musicians performed. Changing each other, and Malchik caught his breath with excitement. And when a pause formed, he blurted out: “And I can play my own?” But do not refuse the child.

And he played. Yes, so that the expression of the faces of the audience quickly changed from the incredulously “interested” to the admiring. His inspired performance, in which he put all his pure, children's soul, all the immense love of music, left no one indifferent. And the enthusiastic exclamations and hot applause that followed him became a well -deserved reward.

He realized that the musicians accepted him in their circle, recognizing him equal. Who would have recognized in this elderly man of that boy who, then, in the teahouse of Ilhoma took his first step on the thorny, but the brilliant creative path and with the name of which the whole history of the musical art of Uzbekistan will be inextricably linked. Academician, People's Artist of Uzbekistan, composer, famous singer, instrumentalist-performer, scientist-folklorist, organizer and head of music groups, venerable teacher, public figure.

It seems as if several people are listed in this list. In fact, all this about him alone - the outstanding son of the Uzbek people, Yunus Rajabi. In addition, in any of his realizations, he did not allow half and in each he reached the highest professionalism. But one of his merits before the domestic culture, which he “erected the monument to himself is not man -made” should be noted especially: he collected, systematized and recorded more than one and a half thousand existing people in folk memory for many centuries of captivating folk songs and instrumental works, preserving them for future generations.

Without exaggeration, we can say that Yunus Rajabi made a feat in the field of preserving folk music. Indeed, until the 20th century in Uzbekistan there was no musical record and melodies were transmitted verbally from generation to generation. And today, when pop music became the “queen” of concert venues, body and radio broadcasts, and in many of those who remembered the treasury of folk musical creativity, collected by hundreds of generations, always “Uzbek folk music” in five volumes and “Shashmak” in six volumes.

How did just one human life contain so much in itself? Yunus Rajabi was born on January 5 of the year in Tashkent in Mahalla Chakar. He was the last, 16 child in the Rajab family-Aka and Oisha Bibi. Father was engaged in agriculture and livestock, the mother led the farm and looked after the children. Despite the hardships of life, grief associated with the loss of 10 children, they were bright and good -natured people.

In the memory of his parents, his heart overwhelmed his tenderness: before his eyes, a good, native face of his mother stood up before his eyes. She was a very gifted woman, by heart, she read the Qur'an, was fond of poetry, composed poetry, knew many verses and was happy to recite surrounded by friends. And her hands were truly golden: she spent her yarn at home, knitted, sewed clothes for her children.

The father was a funny enthusiastic nature, loved art, music. He especially always took little Yunus with him, for folk holidays, parties, weddings. There, the boy first heard the performances of famous singers and joined the world of music, which forever became his main passion. The older brother, who knew about this passion. I bought and gave him Dutar. Father, noticing the ability of his son, encouraged his fascination with music in every possible way.

And then, in the teahouse of Ilhoma, Little Yunus dared to perform largely thanks to his silent support. And the boy’s abilities were extraordinary - absolute hearing, phenomenal musical memory. Already in early childhood he heard only once even a very complex, long melody, he quickly remembered it and reproduced it exactly. In the neighborhood with the Rajabi family, the famous Hafiz Mirzo Kasym lived, and Little Yunus began to study with him a game of dutar.

At that time, his peers spent time in games on the street, he was engaged for hours, improving performing skills.But he did not feel deprived of this - because the music was a world for him in which he was happy. And in rather, he already performed the music of M. Kasym: “OMON ER”, “Azham”, “Eshvoy” and others. At the same time, he studied at the old school and at the madrasah, which he graduated from the year.

In the same year, a sad event took place - his father died. The teenager had to work on a slaughterhouse to maintain a family and a widowed mother. And here there was a remarkable episode. Among the employees, a competition was arranged - who is faster and accurately cutting meat carcasses. And Yunus, the youngest of the participants was the best. He was in a record short time- 8 minutes- freshened the carcass of a ram in the way it did not always succeed in experienced craftsmen.

This manifested the very valuable quality of Yunus Rajabi - he never did nothing bad, even if the work was not to his liking, and doing it he only dreamed of how he would return home, take his favorite tool and revive the strings with his touch. After that memorable evening in the teahouse, he became popular and famous singers invited him to accompany him at holidays and parties.

Soon there was a meeting, finally convincing the young man: his vocation is music. In the year, he met with the folk singer Shorhim Showomarov. Friendship grew into a creative union, which later brought remarkable fruits. In this youth period, the talents of Yunus Rajabi poured from a cornucopia. His low baritone, by that time, acquired that enchanting, velvet timbre who so worried the audience, penetrating the most hidden corners of their hearts.

He began to study singing with the famous Hafiz, Mullah Tuychi Tashmukhammedov, like a sponge absorbing every sound, every breath. And rather he became his best student, mastering the technique of singing so much that he often replaced in the concerts of his teacher. The brilliant organizational and pedagogical abilities of Yunus were discovered. He found young, talented boys and girls and organized mugs, teaching them music.

And by the time of opening in Tashkent in the year of the People’s Conservatory, he was an already established performer and experienced teacher. Therefore, when he decided to enter the conservatory, those around him dissuaded him, saying, "you are already a famous musician, why do you need it." But Yunus’s instinct, which turned out to be visible, prompted that he needed a musical education.

He became a student, for 4 years improving the game of Dutara and Nai, studying Bukhara Shashmak, mastering theoretical disciplines. In the year, he receives a direction to Samarkand. It develops an active concert activity, becomes the head of the Musical Drama Theater.

In Samarkand, there is a significant meeting with the largest Hafiz and the Dutarist, an expert on the Makoma Khoja Abdulaziz Rasulev, who left a deep mark in his life, and largely determined his creative credo. It was in Samarkand that the historical mission of Yunus Rajabi was originating- the collection and recording of the Makom. Stubbornly, not sparing of effort and time, he looked for melodies and songs, recorded them a musical education, lovingly engaged in their thorough processing.

He proceeded, not one hundred kilometers and there is no such village in the republic that he would not have visited, in search of new works. At the same time, it begins to compose its melodies and songs, which immediately become popular like: “Bahore”, “Hammamiz”. In the year, he returns to Tashkent and heads the ensemble of folk instruments in the newly organized radio committee.

Since that time, the whole life of Yunus Rajabi has been associated with work on the radio. The ensemble becomes popular not only in the republic, but also beyond its borders. In the year at the Moscow Radio Festival, the executive art of the ensemble was highly appreciated. The ensemble is also very successful to this day, having done a lot to popularize folk songs and works of Uzbek composers.

The mature period of his life has come, the period of the stormy heyday of his talents. There is not a single genre into which he did not make his creative contribution. The formation and heyday of the Uzbek musical drama is inextricably linked with his name. In community with Russian composers B. Nadezhdin, c. Uspensky, G. Mushel, he writes music for dramas, Mukanna, Kasos, which successfully went on the stage of the Hamza Theater of the Uzbek National Theater and other theaters.

Prepared the radio detention centers "Navoi", "flour", "Furkat". Creates such large -scale works for a symphony orchestra as the "World", "Ferghana suite". His contribution to the development of the opera art of Uzbekistan is huge. And his symphonic suits “Uyin Baty”, “Seven Suit”, “Pishta Suytasi” were among the best programs of the Bahore ensemble, enriching its repertoire.

Having inherited the love of poetry from his mother, he breathed a second wind, reviving the poetry of the classic poets A. Navoi, Babur, Furkat, muddy for new life in the music. Starting from the year, the Uzbek folk music was published. In each of the volumes there are more works, and after the war, a six -volume “Shashmak”. A large event in the cultural life of the republic was the release of gramples with the records of Shashmakom.

These records were made in difficult conditions: the windows of the radio committee went out into the street with tram tracks. And so that the sound is not spoiled by a roar, they are recorded from 12 in the morning to 5 in the morning.