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Sample sheet music

Title	Voice of Asia
Category	Concert/wind/brass band
Subcategory	Contemporary Wind Music (1945-present)
Instrumentation	Ha (concert/wind band)
Format	PrtStm (full score and parts)
Publisher's article no.	Kl 1457
Price	99.00 EUR (incl. 10 % Austrian VAT)
Composer	Bestybaev, Adil
Difficulty level	4+
Duration	5:20
Additional info/contents	Voice of Asia has been composed on the instigation of the State Wind Orchestra of Kazakhstan and is a kind of "visiting card" of this orchestra. The composer is depicting the celebration of spring with the Eurasiatic Nomades by bowing to fire, sun, water etc.- some rites of the Tangri- and Zarathustra-Religions. The triumphal sound is growing out of incorporation of the national asiatic wind instrument "Carnaj" - a long basstrumpet with 2 tones (quinton)(Trombone) - and different national percussion instruments. The C-major key with a flat 7th degree is caracteristic for this composition. The music publisher Kliment is probably the only publishing house in Europe that has original wind orchestra works by Kazakh composers in its programme. The Triumphal March Voice of Asia contains Asian and European elements and is an original composition for wind orchestra. An extraordinary enrichment of your concert programmes! (© Kliment Musiverlag)
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Sample score	click here
Sound sample
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Programme notes: “Voice of Asia”: Kazakh Musical Culture Between Ritual, Steppe, and the Present The musical culture of Kazakhstan is closely linked to the history of the Eurasian steppe. Over the centuries, nomadic lifestyles, vast landscapes, and the exchange between Turkic, Iranian, and Mongolian cultures shaped its musical evolution. Music served purposes beyond mere entertainment; it accompanied festivals, religious rituals, social gatherings, and the transmission of historical memory. Oral tradition played a central role. Singers, instrumentalists, and epic storytellers preserved genealogical knowledge, heroic tales, and philosophical concepts. The *dombra*—a two-stringed long-necked lute—is particularly renowned; playing it remains an essential element of Kazakh identity to this day. The musical heritage also encompasses various flutes, signal and natural instruments, and traditional percussion. Their soundscapes are frequently characterized by open intervals, ostinato patterns, and a close connection between rhythm and language. • Religious Beliefs of the Steppe Kazakhstan’s pre-Islamic religious history is multifaceted. The term *Tangri* (or *Tengri*) refers to a historical belief system held by Turkic and Central Asian peoples, in which the Sky God and the cosmic order played pivotal roles. However, it is difficult to speak of a unified, codified religious system; instead, regional traditions, ancestor worship, and shamanic practices intertwined with concepts of the sky, earth, water, fire, and natural forces. Zoroastrianism also exerted influence in parts of Central Asia, particularly in the historical cultural regions south and west of present-day Kazakhstan. Its religious symbolism centered on fire, purity, and the struggle between order and chaos. It is not possible to establish a blanket connection between all Kazakh customs and Zoroastrianism. Nevertheless, archaeological and cultural-historical findings demonstrate that religious concepts interacted along trade routes and migration paths. The spring rites of Eurasian nomads illustrate this connection between nature, community, and religious symbolism. The transition from winter to spring marked the beginning of a new cycle of life and labor. Fire could be perceived as a purifying and protective force; the sun as a source of light and life; and water as the foundation of fertility and renewal. Gestures of reverence—such as bowing before fire, the sun, or water—should not be viewed in this context as a uniform ritual shared by all nomadic groups. Rather, they point to a shared symbolic language in which nature was perceived as an order that defined life itself. To this day, the Kazakh spring festival of Nauryz symbolizes renewal, community, and the transition into a new season. Its historical roots are intertwined with older Iranian and Central Asian traditions. Music, communal singing, ritual foods, and public gatherings demonstrate that cultural identity is formed not merely through individual symbols, but through practices shared by the community. Adil Bestybaev's work "Voice of Asia" In this cultural context, Adil Bestybaev's composition "Voice of Asia," Triumphal Procession "Scythia," takes on a special significance. Commissioned by the State Wind Orchestra of Kazakhstan, the piece is composed for a top-level wind orchestra and lasts approximately five and a half minutes. It combines the sonic capabilities of a modern symphonic wind orchestra with instrumental colors that evoke the musical traditions of Central Asia. A distinctive element is the use of the *carnaj*. This traditional Asian wind instrument can be described as a long bass trumpet capable of sounding a perfect fifth. Its sonic function is that of a distinctive, far-carrying signal. If a *carnaj* is unavailable, the part can be played by a trombone; this preserves the musical function while altering the timbre. The orchestra is complemented by various traditional percussion instruments, which reinforce the work's ceremonial and processional character. The composition, set in C major with a lowered seventh degree, combines a clear tonal foundation with a distinctive coloration. Consequently, its festive character does not come across as merely bright or grand; the lowered seventh degree creates an archaic, modal tension, evoking associations with ancient melodic forms, open landscapes, and ceremonial musical gestures. What matters here is not so much the literal imitation of a historical ritual as the musical translation of cultural concepts into a contemporary orchestral language. The title "Voice of Asia" can thus be understood on several levels. First, it refers to the sound of an orchestra that makes its country’s cultural heritage audible on the international stage. At the same time, it points to a musical language in which traditional instruments, percussion, and symphonic wind writing interact. The "Voice of Asia" is not a museum-like reconstruction, but a contemporary artistic statement. • The Orchestra as Cultural Ambassador For the State Wind Orchestra of Kazakhstan, "Voice of Asia" serves as a kind of calling card. The work demonstrates the technical prowess of a top-tier wind orchestra while simultaneously highlighting a specific cultural connection. In doing so, the orchestra acts not merely as a musical ensemble but also as a cultural ambassador. • In the “Triumphal procession”, movement, celebration and collective sound effect are combined. The procession can be seen as a symbol of a cultural journey: from the concepts of nature and spirituality found in the steppe, through Kazakhstan’s instrumental traditions, to the international concert stage. *Karnay* horns and percussion instruments underscore the local and historical context, while the overall orchestral structure demonstrates the work's integration into the international wind orchestra repertoire. The significance of the piece lies, therefore, in the bridge it builds between memory and the present. "Voice of Asia" portrays Kazakh identity not as a static legacy, but as an ongoing process of musical creation. The composition makes audible how traditional concepts, religious symbolism, and modern orchestral practice can combine to form a distinctive cultural expression. • Text: © musicainfo.net (KI)

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	Format	EUR
	Voice of Asia (concert/wind band), full score and parts	99.00
	Voice of Asia, audio CD

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