"In a choir, it's important not to stand out, but to hear others": Asem Yesenova on the Eligai school and music that unites
On stage, the children's choir sounds like a single organism: dozens of voices unite in a single intonation, a single breath, a single musical statement. But behind this harmony lies complex, daily work. A child must not only accurately perform their part, but also learn to listen to those singing alongside them, trust the conductor, and feel responsible for the overall result.For Asem Yesenova, the Eligai Choir is much more than a place of work. In 1999, she auditioned and became one of its members. She sang with the group for seven years, then returned as a choirmaster, and later took over as the choir's director, which helped her take her first steps in the profession.Today, Eligai continues to develop the vocal and choral school created by several generations of Kazakhstani musicians. Each year, the lineup changes, the voices and repertoire change, but the group retains its distinctive performance style and character. Recently, the choir of the K. Baiseitova Kazakh National University of Arts won the Gold Award in the Performance Choir Class category at the 2nd International Choir Festival in Hong Kong and Shenzhen. But the international award was merely an excuse to discuss something more important – the long history of "Eligai," its traditions, its inner atmosphere, and its ability to transform diverse children's voices into a unified sound.In an interview with Qazaq Culture, Asem Yesenova explained why it's not enough for a choir member to simply sing well, how national music helps present Kazakhstan abroad, and what children learn in the choir beyond vocals.– Asem, your history with "Eligai" began long before you became its director. What did you remember about the choir when you first joined?– My history with "Eligai" began in 1999. I auditioned and joined the children's choir, which was preparing for a major tour at the time.We were working on a very ambitious program. They performed Giovanni Battista Pergolesi's Stabat Mater with orchestral accompaniment, along with works of national, Western European, and Russian choral music. For a child, this was a true immersion in professional art.It was during these years that the choir's performance style, its distinctive vocal style, and its own school were formed. The group's founder, Honored Figure of Kazakhstan, Professor Gulmira Kuttybadamova, along with her teacher, the outstanding master of choral art, Anatoly Molodov, established the principles of sound that would later become the hallmark of "Eligai."From the very beginning, the choir was set high artistic and professional goals. "Eligai" was created as a concert group. It actively participated in the country's cultural life, performing at major venues and significant state events.I spent seven years with the choir. During this time, I not only gained invaluable performing experience but also absorbed the group's traditions, attitude toward music, the stage, and teamwork. Later, my connection with "Eligai" continued professionally. As a student, I worked there as a choirmaster under Gulmira Kuttybadamova. Therefore, the opportunity to lead the ensemble in which I myself had grown as a musician was simultaneously a great honor, a tremendous responsibility, and a source of inspiration for me.– So, you see "Eligai" from two perspectives at once – through the eyes of a former member and the current director. What has changed in the ensemble, and what has been preserved?– Over the years, the choir has certainly changed. Each director inevitably brings their own creative vision. New nuances of sound emerge, repertoire accents and working methods evolve.But the most important thing remains unchanged – the high level of performance culture and the vocal and choral school. This determines the participants' attitudes toward sound, musical material, and the stage.For us, "Eligai" has long been more than just a name. It is a symbol of a specific performance culture and the continuity of generations. The choir has its own distinctive artistic identity, recognized by both listeners and the professional community.A special place is occupied by the works that have become its calling card. Among them are the compositions of Anatoly Molodov. These have been performed by different generations of choir members, and today this music continues to connect us with the choir's traditions.It's important to me that the children understand that they're not just coming to vocal lessons. They're becoming part of a larger history, with its own teachers, iconic works, principles, and a responsibility to those who sang here before them.But the children's choir is constantly changing: older members graduate, newcomers join. How can we maintain a recognizable sound?This is one of the most significant challenges for any children's choir. Every year we bid farewell to graduates and welcome new members. Voices, personalities, ages, and skill levels change, so preserving traditions is a constant process.A recognizable sound cannot be conveyed to a child through a single explanation. It develops gradually – through a unified vocal school, a rehearsal system, a shared repertoire, and performance standards.Immersing newcomers in the choir's life plays a major role. They become familiar not only with the pieces we teach today, but also with the choir's history, its signature compositions, and its creative principles.The internal atmosphere is equally important. We instill in the children respect for each other, responsibility for the overall result, and the ability to work as a team. New members learn from their elders not only vocal skills but also communication skills, an approach to rehearsals, and stage manners.The choir's sound may acquire new colors – and this is natural. But if the foundation is preserved, the group retains its identity. It is this combination of tradition and development that allows "Eligai" to remain recognizable through the constant change of generations.– What qualities do you look for in a child during an audition? Does a good voice always mean you have a future choir member in front of you? During the selection process, we primarily look at musical ear, sense of rhythm, and vocal ability. But it's equally important for me to see a child's desire to study.Skills can be developed if there's interest, hard work, and intrinsic motivation. Choral art requires regular and meticulous work, so a beautiful voice alone isn't enough.Perhaps the most difficult thing is teaching a child to listen to others. In a choir, you can't simply sing your part well. You need to sense the overall sound, listen to those around you, be able to adapt, and understand that the result depends on everyone.Sometimes a child wants to show off their voice, sing brighter or louder than the others. But the essence of a choir is different. It's important not to stand out, but to find your place in the overall sound.Gradually, this quality shapes not only a good performer but also a mature individual. The child learns to be part of a team, to take responsibility, and sometimes to give up personal desires for the sake of the overall result. This is one of the main educational forces of choral art. Today's children are growing up in a completely different information and musical environment. How can we select a piece that will engage them and simultaneously help them grow professionally?Choosing a repertoire always requires a precise balance. It's important to consider the artistic merit of the piece, the children's age, and their vocal abilities, but at the same time, the music must be emotionally relatable.For us, simply learning the notes correctly isn't enough. The child must feel the content of the piece, understand its mood, and experience a specific story on stage. Without this, a performance may be technically precise, but it will remain cold.The "Eligai" repertoire combines classical works, contemporary choral music, arrangements of folk songs, and works by Kazakh composers. Each musical layer presents new challenges for the children.Classical music develops a sense of form and style, contemporary music requires a different intonation and rhythmic precision, folk pieces help them experience the naturalness of melody, and works by Kazakh composers allow them to gain a deeper understanding of their own musical culture.This repertoire broadens children's horizons. They don't get accustomed to one type of sound, but are constantly faced with new artistic and professional challenges.– You're talking about works by Kazakh composers. Is it possible to detect the choir's national identity, even when it performs music by a foreign composer?– I believe that Kazakhstani choral culture truly has its own unique characteristics. These are linked to the richness of the national musical tradition, the melodies of the Kazakh language, and our people's special relationship with song.Works by Kazakhstani composers, arrangements of folk songs, and compositions in the Kazakh language occupy an important place in the "Eligai" programs. Through this music, children become acquainted with their culture not as something purely historical, but as a living artistic space.When we perform abroad, it's especially important for us to present Kazakhstan through music. National works often generate great interest among foreign audiences because they allow them to experience unfamiliar melody, rhythm, language, and character. But the national school is evident not only in the choice of repertoire. It is felt in the musical thinking of the performers, in their approach to melody, and in the emotional openness with which they take the stage.You can perform a work by a foreign composer and still remain a representative of your own culture. This is what true musical dialogue is all about.— Recently, "Eligai" received a Gold Award at a festival in Hong Kong and Shenzhen. What did this trip give the children besides the award?— Any international competition is much more than just competing for diplomas and places. For children, it's an opportunity to see another world, meet peers from different countries, and feel part of a large international musical community.Such trips help them see their own work differently. The children understand that long rehearsals, discipline, and attention to every detail are meaningful. They see that their work can be heard and highly appreciated by professionals from different countries.The festival gave the participants new experience and self-confidence. At the same time, it allowed us to more objectively assess our strengths and identify areas for further development. It was especially important for me to ensure that Yeligai can represent Kazakhstan with dignity on the international stage. However, an award shouldn't be a stumbling block. On the contrary, success increases responsibility and motivates you to set even greater goals.– When you think about the future of Yeligai, what do you foresee first: new stages, major projects, or a new generation of musicians?– I'd like the choir to continue growing professionally while maintaining its warm atmosphere. I dream of participating in major international projects, collaborating with renowned musicians, and performing at prestigious global venues.But my main goal isn't just awards and high-profile stages. What's far more important is the kind of people the choir's students become.I want graduates to remember Yeligai years from now as a place where they learned to listen to others, work in a team, overcome challenges, appreciate art, and believe in their own abilities.Today, I also see my goal as training a new generation of musicians and future choir directors. They must continue the history of "Eligai" and preserve the vocal and choral school that our teachers have been building for decades.If we succeed in passing on this culture, maintaining the professional level and human atmosphere of the group, then we will truly be moving in the right direction.
