Last week, a solemn meeting was held at the State Institute of Arts and Culture of Uzbekistan dedicated to the 95th anniversary of the birth of Tom Alexandrovich Khomyakov. The memorial concert titled 'Life in Art' served as an acknowledgment of the merits of the musician, educator, and cultural worker of the Republic of Uzbekistan, whose life was closely connected with music and the orchestra of Russian folk instruments.
The event gathered Khomyakov's students and colleagues, who expressed their respect for him. The program was prepared by F. A. Khakimova, head of the 'Cholgu Ijrochiligi' department, and T. T. Sedikh, Doctor of Philosophy (PhD) in art history and holder of the badge 'Madaniyat va san’at fidokori'. The evening was filled with music, warm words, and sincere emotions, recalling the rich legacy of Tom Alexandrovich.
The audience was particularly drawn to the performances of young musicians, whose skill and love for art, which Khomyakov valued, evoked admiration. Colleagues also shared fond memories. Among the performers were Professor M. Atadjanov, holder of the 'Shuhrat' medal and laureate of international competitions, who presented his composition 'Okhangrabo', as well as A. Tikhonov, associate professor at the State Conservatory of Uzbekistan, who performed in an ensemble with a student. The soulful performance of Russian folk songs was demonstrated by the 'Nadezhda' choir of the 'Khimik' Palace of Culture from Chirchik under the direction of Z. R. Asanova.
The author recalls how Tom Alexandrovich performed with a group in her television 'Musical Living Room'. Thirty-five years ago, in Tashkent, his double jubilee was celebrated: 60 years since birth and 40 years of creative activity. Music accompanied every stage of his life—from working on stage and at the conductor's podium to pedagogical work at the Khamza Institute.
Tom Khomyakov was born on July 20, 1931, in Tokmak, Kyrgyzstan. At the age of fifteen, he began working in production, and later received education at an electrical engineering college. His musical journey began in 1945 when he joined the artistic self-activity circle under the guidance of N. A. Kasyanov. In the 1950s, he enrolled at the Khamza Tashkent Music School in the domra department, but a year later was called up for military service.
Military service in the Turkestan Military District orchestra, where he worked under A. F. Venegnev and A. V. Petrov, became an important period for honing his professional skills and style. After demobilization, he continued his studies at the institute and then entered the Tashkent State Conservatory in the faculty of Uzbek folk instruments. He graduated from the conservatory in 1962, receiving qualifications as a conductor and domra teacher. His mentors at various times were A. I. Petrosyants, F. V. Nazarov, and A. P. Evdokimov. Tom Alexandrovich dedicated decades of his life to his native institutes, teaching there starting in 1957, even while still a student.
Before this, he was actively involved in educational and organizational activities, leading the amateur orchestra of the T. Sadykov City Palace of Culture for 26 years. During this period, over a thousand people passed through his collective, many of whom became famous musicians, such as V. L. Medulyanov, who headed the Gosteleradiokompaniya orchestra, and O. S. Siloamsky, who led the TurkVO Song and Dance Ensemble. The orchestra under Khomyakov's direction held over 400 concerts, performed on radio and television, and visited VDNKh in Moscow twice, regularly receiving awards at exhibitions and competitions.
Later, Khomyakov taught at the M. Ashrafi Tashkent Conservatory, supervised pedagogical practice, organized trips for outstanding students to universities in Moscow and Leningrad, and participated in developing methodological courses and working in the laboratory for improving folk instruments. Nevertheless, from 1964, his main job again became the Khamza Institute, where he managed pedagogical and production practice for 20 years, sharing his experience at republican conferences in Tashkent, Bukhara, Namangan, and Jizzakh.
After the earthquake in Tashkent, he was gifted a set of folk instruments from Moscow, which allowed Tom Alexandrovich to realize a long-held dream—to take the conductor's podium of the orchestra, which was subsequently named 'Druzhba' (Friendship). This marked the beginning of a new phase of his life.
With this orchestra, Tom Alexandrovich developed extensive musical, educational, and concert activities, which received wide coverage in the press of Uzbekistan and abroad. Working with the school orchestra required a special approach: it was necessary not only to teach the boys but also to instill soul in them so that every graduate could begin a new cycle of study. Nevertheless, Tom Alexandrovich created a collective that sounded like a high-class philharmonic ensemble. The 'Druzhba' orchestra was indispensable at city holidays, toured throughout Uzbekistan, and helped amateur groups. The repertoire of the collective included over two hundred works, including music by Bach, Tchaikovsky, contemporary authors, and Uzbek melodies. A distinctive feature of 'Druzhba' was its freshness, temperament, and lively performance, which earned the collective the Youth of Uzbekistan award.
Under the direction of Tom Alexandrovich Khomyakov, the orchestra became a center of attraction for the leading stars of the republic's musical scene. His conducting united masters such as A. A. Adilov, Honored Artist of Culture and Professor at the M. Ashrafi Tashkent Conservatory; K. Mukhitdinov, People's Artist of Uzbekistan and soloist of the A. Navoi State Academic Grand Theatre; V. Baeva, People's Artist of the RSFSR and Associate Professor at the Sverdlovsk Conservatory (now Yekaterinburg); as well as L. Pinkhasov and Yu. Zhdanov, Honored Artists of Uzbekistan, among many other talented performers.
Looking back on the jubilee's life path, one cannot ignore his constant search, bold experiments, and striving for innovative musical forms. However, the most important aspect of his creativity was sincerity and deep dedication to the cause. The jubilee program, dedicated to his sixtieth birthday, and the sparkle in his students' eyes serve as proof that a life fully devoted to music was lived usefully, leaving behind a rich cultural heritage.
The recent concert was not just a musical event, but a deep tribute to a person whose destiny was inextricably linked to the service of art. It provided an opportunity to express immense respect for a master who not only created but also generously passed on his knowledge, educating a new generation of musicians. His contribution to culture is more than just notes and melodies; it is a living link between the past, present, and future of musical art.
