Uploaded September 2026 | Updated September 2026, 4 days ago
00:05 I. Allegro
07:53 II. Allegro assai (skips one page) (attacca)
13:37 III. Andante cantabile (attacca)
18:11 IV. Allegro (attacca)
Tatar ASSR State Philharmonic, cond. Natan Rakhlin
Original audio from youtube.com/watch?v=ZfKKQ_MmoEY by @collectionCB3
Unfortunately, the skip around 7:54 loses the start of the second movement (just over one page.) There are also some differences in the winds and brass in the second movement and at the ending from around 26:45, which may be due to this publication likely being later than the recording; I have kept the last page as a still frame after that, as I don't have access to any other score of this work.
Näcip Cihanov or Nazib Zhiganov (1911-1988; Russian: Назиб Жиганов; Tatar: Нәҗип Җиһанов) was a Tatar and Soviet composer. Born in what is now Kazakhstan, Cihanov moved to Kazan, the capital of the Tatarstan republic, at the age of sixteen, where he eventually entered the Tatar Art College. On the advice of the composer Alexander Klyucharev, he went to the Moscow Conservatory in 1931 to study composition, graduating in 1938 under the tutelage of Genrikh Litinsky.
The remainder of Cihanov's life would be spent mostly in Kazan, where, after several years of letters to officials in Moscow, he was granted permission by Molotov to open a conservatory in 1944. The following year, Cihanov officially began teaching at the conservatory, serving as rector until his death; in 1953, after Stalin's death, he was named professor. In addition to teaching and serving as chair of the Tatarstan Composers' Union, Cihanov also served as a deputy in various levels of Soviet administration from 1951 onward, including as a deputy of the Soviet Union itself from 1966 to 1970.
Cihanov was probably insulated by his status in the Soviet system and his accessible, folklore-imbued music was palatable to the authorities, with his second symphony being particularly awarded. This work from 1968, however, is no mere trifle of a compositional functionary, written with a sincerity of expression and thoughtful incorporation of folk idioms allied to simple but well-crafted orchestration. Its epithet "Sabantuy" refers to a summer festival, celebrated by the Tatars and nearby Turkic groups and dating back to pre-Islamic times, which features events including Tatar wrestling, pillar-climbing, pot smashing, and finding a coin in a sour milk beverage: en.wikipedia.org/wiki/Sabantuy
00:05 I. Allegro
07:53 II. Allegro assai (skips one page) (attacca)
13:37 III. Andante cantabile (attacca)
18:11 IV. Allegro (attacca)
Tatar ASSR State Philharmonic, cond. Natan Rakhlin
Original audio from youtube.com/watch?v=ZfKKQ_MmoEY by @collectionCB3
Unfortunately, the skip around 7:54 loses the start of the second movement (just over one page.) There are also some differences in the winds and brass in the second movement and at the ending from around 26:45, which may be due to this publication likely being later than the recording; I have kept the last page as a still frame after that, as I don't have access to any other score of this work.
Näcip Cihanov or Nazib Zhiganov (1911-1988; Russian: Назиб Жиганов; Tatar: Нәҗип Җиһанов) was a Tatar and Soviet composer. Born in what is now Kazakhstan, Cihanov moved to Kazan, the capital of the Tatarstan republic, at the age of sixteen, where he eventually entered the Tatar Art College. On the advice of the composer Alexander Klyucharev, he went to the Moscow Conservatory in 1931 to study composition, graduating in 1938 under the tutelage of Genrikh Litinsky.
The remainder of Cihanov's life would be spent mostly in Kazan, where, after several years of letters to officials in Moscow, he was granted permission by Molotov to open a conservatory in 1944. The following year, Cihanov officially began teaching at the conservatory, serving as rector until his death; in 1953, after Stalin's death, he was named professor. In addition to teaching and serving as chair of the Tatarstan Composers' Union, Cihanov also served as a deputy in various levels of Soviet administration from 1951 onward, including as a deputy of the Soviet Union itself from 1966 to 1970.
Cihanov was probably insulated by his status in the Soviet system and his accessible, folklore-imbued music was palatable to the authorities, with his second symphony being particularly awarded. This work from 1968, however, is no mere trifle of a compositional functionary, written with a sincerity of expression and thoughtful incorporation of folk idioms allied to simple but well-crafted orchestration. Its epithet "Sabantuy" refers to a summer festival, celebrated by the Tatars and nearby Turkic groups and dating back to pre-Islamic times, which features events including Tatar wrestling, pillar-climbing, pot smashing, and finding a coin in a sour milk beverage: en.wikipedia.org/wiki/Sabantuy
