Kazakh Violinist Dinara Bazarbayeva-Sakhaman on Sound, Identity, and the Demands of the Stage

Dinara Bazarbayeva-Sakhaman, a soloist at the Zhambyl Kazakh State Philharmonic, spends much of her time moving between countries and concert halls, performing with international orchestras and collaborating with musicians from different traditions. Behind these appearances lies not only a demanding touring schedule, but also rigorous discipline: long hours of rehearsal, complete dedication on stage, and a constant search for the right sound. Speaking to The Times of Central Asia, she reflects on the Kazakh violin school, the nature of talent, and the enduring pull of her instrument. TCA: Dinara, your career has taken you to many countries. What has that experience been like? Dinara: Not the entire world, of course, but I’ve visited many countries thanks to my profession. The only time I traveled without my violin was when I went to Thailand, and throughout the trip, I felt as if something was missing. It was unusual, waking up on the plane and thinking, “Where is my violin?” TCA: Do you usually travel with an orchestra? Dinara: It varies, but more often I travel alone. There are projects where orchestras are assembled from musicians from different countries. For example, the renowned violinist and now conductor Marat Bisengaliev does this in India. For the Symphony Orchestra of India, he invites musicians from around the world. I have been collaborating with this orchestra for quite some time; it is an excellent ensemble. Working in such groups, sharing cultures, performing for diverse audiences, and collaborating with musicians from different parts of the world is one of the most fascinating aspects of our profession. TCA: Are there any distinctive features of the Indian violin school? Dinara: I performed in Mumbai, where there are several schools. One was founded by Marat Bisengaliev at the National Centre for the Performing Arts, and another by Mehli Mehta. In Bisengaliev’s school, classical violin is taught based on our educational system while incorporating elements of Indian tradition. What surprised me most was the number of self-taught violinists. TCA: And how do they play? Dinara: Surprisingly well. Their path is very different, yet the results are impressive. In our system, if you don’t start learning the violin at the age of five or six, seven at the latest, it is believed that you will not catch up and will likely remain an amateur. However, I know someone who began playing at 33 and now performs in a professional orchestra, knowing first violin parts almost by heart. He has a beautiful tone and excellent intonation. For me, this is a unique case. TCA: At what age did you start playing? Dinara: At five. That means I’ve spent 36 years with the violin and cannot remember life without it. I often joke that it is my lifelong implant—an inseparable part of me, with only its size changing as I grew. TCA: How would you describe the Kazakh violin school? Dinara: The foundation of our school lies in the Russian-Soviet tradition. During World War II, many teachers were evacuated to Kazakhstan and remained...