He is a founding member and clarinetist of award-winning Montreal-based klezmer group Kleztory[2] and invited professor at Laval University[3] in Quebec, Canada.

[5] His grandmother, Rashida Abdulazyanovna Ziganshina, was an actress at the Galiaskar Kamal Tatar Academic Theatre, a public figure, playwright, and People's Artist of the Republic of Tatarstan and the Russian Federation.

[19][20] Ichmouratov's "Fantastic Dances" for clarinet, cello and piano with Strings and percussion were commissioned and recorded by Yuli Turovsky & I Musici de Montreal.

[25] During his interview with Evening-Kazan, he highlighted learning valuable skills from other street musicians, including improvisation, jazz, klezmer, and folk music.

After beginning as a street musician, Icmouratov is today an orchestra conductor, klezmer clarinetist, and classical composer, having crafted a considerable amount of compositions.

In 2011, replacing Yuli Turovsky at short notice, Ichmouratov conducted I Musici de Montréal Chamber Orchestra on tour in USA,[32] Brazil[33] and Peru.

[52] Ichmouratov is recognized for his style, which intricately weaves together the threads of Russian Romanticism, Tatar heritage, French Canadian folk, and the Jewish klezmer tradition.

[27] Frédéric Cardin, who reviewed Chandos recording of his Piano and Viola concertos with London Symphony orchestra called him "a leader in contemporary neo-romantic music worldwide".

[54] In an interview, given to la Scena Musicale, who called him "21st Century Romanticist",[27] Ichmouratov mentions that his preferred repertoire comprises compositions by notable Russian composers such as Tchaikovsky, Rachmaninoff, Shostakovich, Prokofiev, Mussorgsky, and Borodin.

[57] Katherine Cooper of PrestoMusic mentioned in her review that listening Ichmouratov's works without prior knowledge, she would have guessed that the majority of his orchestral music originated from the first half of the twentieth century.

Michael Wilkinson of Music Web International in his review characterized Ichmouratov's Symphony as dull, expressing difficulty in identifying a distinctive voice within it.

[61] David Nice of BBC Classical Music wrote that Ichmouratov's Youth Overture has "a creepy-weird counter-theme and a broad synthetic melody".

[62] Meanwhile, Ateş Orga of Classical Source states that Ichmouratov is possessing immaculate craftsmanship, an impeccable sense of orchestration, and a rich vein of tonal/modal melody.

[56] Britannica states that the era of musical Romanticism was characterized by a focus on individuality, personal emotional expression, and freedom in form.

[65][60] The majority of his orchestral compositions, spanning opera, symphony, overtures, and concertos, are scored for the full-size orchestra, reminiscent of the late 19th through the mid-20th century, and often involve an average of 80 to 100 performers with a diverse array of instruments.

[66] In his Master's thesis at the University of Montreal, where he talks about his "Youth" Overture, the composer notes his admiration for the skillful orchestrations of Tchaikovsky, Shostakovich, and Rachmaninov: ...

I like a lot when Rachmaninov uses the entire string section to play the melody in unison accompanied by winds and brass, so I decided to use a similar orchestration for the appearance of the second theme.

[67]In his interview with Keith Horner, while working on his first Chandos recording of the tone poem "Letter from an Unknown Woman,"[68] the composer mentions about the 'Fate' motif characterized by a rising seventh (A – C – G♯).

Ichmouratov has subtly modified this motif, introducing a minor third instead of a perfect fourth within the major seventh, marking its evolution and integration into various works such as the Three Viola Romances Op.22 (2009), String Quartet No.

This motif, often associated with themes of destiny and persistence, takes on diverse expressions in his music, ranging from poignant moments to forceful dissonance.

Quebec folk elements in the music can be observed, as well as fragments of Armenian, Russian, Jewish, and a traditional Tatar melody, Ichmouratov's cultural origin.

[80]In 2021, Ichmouratov composed Overture "The Bewitched Canoe" op.70, inspired by folk story "La Chasse-galerie", which is a well-known French-Canadian tale depicting lumberjacks from camps operating around the Gatineau River.

[93] Then, in 2011, we can clearly observe klezmer inspired themes in his Concerto grosso N1 Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion.

The introductory phrase of this doina plays a central role in the composition, acting as the fundamental musical motif from which Ichmouratov develops the entire concerto.

[98][66] Example of inspiration from Hungarian traditional folk theme "Marosszéki kerek erdő" in Ichmouratov's Overture The Myth of Falcon Op.65 The overall reception of his body of work has been generally positive.

However, certain compositions by Ichmouratov have garnered diverse descriptions in reviews, ranging from being hailed as gorgeous and expressive to critiques pointing to moments perceived as boring and somewhat lacking in originality.

David Nice from BBC Music Magazine wrote: "I had to force myself to listen to the end of the A minor Symphony, more a symphonic tone-poem in four very conventional movements".