Nowadays our new guest serves as a trombone player at the Vratsa Symphony Orchestra - a short (or not that short) adventure in his European career. I must confess: The first time when I saw him on stage my impression was of too much French influence for my taste. Almost 2 years later in March 2024 I met again Mustafa Khalilov during the masterclass of Lars Karlin we organised at the National Music Academy. I was kind of surprised: Is that the same person I saw on stage? Or his sunny twin? Sometimes I continue to wonder. And I'm pleased that Mustafa accepted to share his brass story where the trombone is shining so bright…

Azerbaijan today sounds like a mystery - tell us more about your country and the classical and contemporary musicians there. 
Azerbaijan, my homeland, is a truly enigmatic country. For many, it probably remains a bit of a mystery, positioned as it is at the crossroads of East and West, with one face turned toward Europe and the other toward Asia. The Caspian Sea, ancient cities, and a vibrant tapestry of cultural influences all leave an unforgettable impression. But the most fascinating aspect is the music. Azerbaijan has a tradition called Mugham, which penetrates the soul. Music here is incredibly expressive, not just an art form but a means of connecting generations. Mugham can be heard in everything, from our traditions to contemporary music. It’s in our blood. One of my ancestors, Keshtazli Heshim, was a Мaster of Mugham - a title given to those who not only mastered this art form but also founded their own schools and had students.

In classical music, I would highlight Uzeyir Hajibeyov, a composer who transformed Azerbaijan’s musical scene by creating operas like Leyli and Majnun and Koroghlu, blending folklore with classical music. Beyond the remarkable Uzeyir Hajibeyov, there are other composers worth mentioning. For example, Gara Garayev was an innovator who made immense contributions to symphonic and chamber music. His works, such as the ballet Seven Beauties, showcase a deep understanding of both Azerbaijani musical traditions and European compositional techniques. No less significant is the contribution of Fikret Amirov, who was one of the first to adapt Mugham traditions for symphonic music, creating the genre of “symphonic mughams.” His works Shur and Kurd Ovshari are masterpieces, embodying the spirit of Azerbaijan through the lens of the symphony orchestra.

How began your adventure in brass music? Was the trombone who found you or the opposite? 
I’d say the trombone found me. Although I loved music from an early age, constantly humming something - so much so that people had joked, "Mustafa never stays quiet; if he’s not talking, he’s singing". I was adamantly against studying at a music school. In Baku, music schools are separate from regular schools, and as a child I was convinced that music lessons were conducted under terribly strict conditions!😀This disagreement went on every year until I turned 15. That’s when my aunt, who is a violinist in the Hajibeyov Azerbaijan State Symphony Orchestra, joined my parents in persuading me. I agreed on one condition: I would study for a month, and if I didn’t like it, I could quit. I didn’t even care which instrument to choose...
Initially, I was assigned the bassoon. But my aunt, after consulting with her orchestra colleagues, received a suggestion from the trombone teacher, Vladislav Kuznetsov, to give the trombone a try. Although I liked the bassoon, the trombone turned out to be much closer to my heart. From the very first lessons, I was completely captivated, and I began practising with enthusiasm. By the end of the month, I couldn’t imagine my life without those lessons. And that’s how my journey with this wonderful instrument began. It not only became a part of my life but also my profession.

The people who inspired you during the first steps in classical music? 
When my first trombone teacher in Baku, Vladislav Kuznetsov, picked up the instrument during my first lesson and played The Swan by Saint-Saëns, I was struck by the trombone’s beauty, its expressive melodicism, and, most importantly, the mastery of my teacher’s performance. He played as if the trombone was an extension of his soul. My love for the instrument was born instantly. I’m convinced that this was not only because of the trombone’s beautiful sound but also thanks to my teacher, who instilled a sense of music in his students and created an atmosphere where every lesson became meaningful and memorable. His approach was simple but powerful - music wasn’t just performed; it was lived.

Later, listening to outstanding trombonists like Ian Bousfield, Joseph Alessi, Jörgen van Rijen, and others, I admired their artistry. However, the greatest source of inspiration for me was Christian Lindberg. He was the first trombonist I heard on CD and it left an indelible impression on me. His sound, vibrato, and phrasing captivated me instantly. Early on, I tried to emulate his style, which had a profound influence on my musical development. I also recall how my fellow brass players and I would spend entire days listening to recordings of great performers and then attempt to imitate their playing. We were particularly inspired by Soviet brass musicians like Viktor Batashev, Viktor Venglovsky and Timofey Dokshitzer. Their playing embodied incredible musicality and expressiveness, serving as true benchmarks that we aspired to reach.

The Belgian page in your education and professional life?
My education is a synthesis of Azerbaijani, Soviet, French, and Belgian musical schools. I completed my bachelor's degree in Baku under Vladislav Kuznetsov (Baku Music Academy). I pursued my master's degree at H.E.M.U. in Fribourg, Switzerland, under Jacques Mauger, continued my studies in Paris (CRR), also with Jacques Mauger, and finished it in Brussels (KCB) under Vincent Lepape. Additionally, I studied with Alain Pire at the Liège Conservatory. 

Each teacher and school where I studied left an indelible mark on me:
With Vladislav Kuznetsov, I discovered the freedom of expression, learned to feel the music, and approached performance with openness, letting my imagination guide me.
Jacques Mauger brought an academic dimension to my playing, but also instilled a profound musicality that permeates every piece, while emphasising the importance of stylistic and traditional diversity in performance.
With Vincent Lepape, I learned the art of orchestral playing, where technique always serves the music, revealing its depth and emotional expressiveness.
In Liège, with Alain Pire, it felt as if I brought all this knowledge together and found my balance. He taught me how to integrate everything I had learned before and brought harmony between technique and emotionality, which became the key to my own style. Each of these teachings became a part of my life, and I feel how they continue to influence not only my playing but also my perception of life. For this, I am endlessly grateful!

The most impressive events in Belgium you participate in and you will never forget? 
I had the opportunity to perform as a guest musician in the professional orchestra Philharmonie Royal de Liège, which was an incredible experience for me. This orchestra, with its high level of professionalism, provided me with unique moments of collaboration with outstanding musicians, deepening my understanding of collective music-making and ensemble interaction. But the most vivid and moving moment was my solo performance in Brussels with the amazing Bulgarian pianist Tsvetana Gigova. This concert, along with our joint recital in Sofia, opened new horizons for me in solo performance. Tsvetana, with her deep musical approach and sincerity, inspired me to express myself more boldly, and I felt a growing desire to perform solo more often, revealing my individuality through music.

The European contemporary stage inspired by French culture through your eyes?
I believe that the French, with their energy and patriotism, have made a huge contribution to the development of European artistic culture. Whether we’re talking about Debussy, Messiaen, or Daft Punk, France has always amazed with its ability for creativity. When studying in the French school, you immediately feel how deeply the French value their style and culture, and are almost ready to fight for it. They happily share their experience, even if it sometimes comes with a certain assertiveness, as they enthusiastically defend their ideas and vision of art, which inspires not just imitation, but the search for one’s own performance style. It is this passion for art and the desire to pass it on to others that makes French culture a powerful source of inspiration.

Your favourite composers?
I am open to all genres of music - from rock and jazz to electronic and rap. However, when it comes to classical music, it's hard for me to choose just one composer. So much incredible music has been written that each new piece offers a unique experience. Dvořák, Mahler, Chopin, and Mozart are among my favourites, but I would probably choose Beethoven. Through his works, I experience feelings and emotions that I have never felt in real life. I am especially moved by the Allegretto from his 7th Symphony. Beethoven had a special regard for trombones in his works. He considered the trombone an instrument of great power and even referred to it as the "voice of God." However, as far as I know, there is no direct confirmation of this in his letters or writings. Still, such an opinion might have emerged due to his very specific and careful use of trombones in his music.

How did your career lead you to the Vratsa Symphony Orchestra? 
In winter 2021-2022, I was preparing for an important event - a solo concert in Sofia with the wonderful Bulgarian pianist Tsvetana Gigova. She is not only an outstanding accompanist at the Brussels Conservatory but also a teacher from whom I have learned a lot. The program included a concerto by the Bulgarian composer Philip Pavlov. While working on the piece, we often discussed Bulgaria, its culture, traditions, music and I began to discover this amazing country.

At the same time, during the winter, I saw an advertisement for a vacancy at the Vratsa Symphony orchestra and decided to participate. Fortunately, I passed the audition and got a place in the orchestra. To my surprise, I learned that the chief conductor of the orchestra is Hristo Pavlov, the son of Philip Pavlov. It was a great pleasure for me to realise that I would be performing a piece by his father, thus connecting several bright events. In the spring of 2022, our solo concert with Tsvetana took place at the National Music Academy, and it became a true celebration for us. Before moving, I had never been to Bulgaria, but thanks to Tsvetana, I felt like I was already somewhat familiar with the country. Now, living here, I see it all with my own eyes: majestic mountains, picturesque valleys, mystical, authentic music, soulful people, and delicious cuisine.

The Bulgarian music through your eyes? 
Listening to Bulgarian music, I am happy to note that we often have concerts with Georgi Andreev. Maestro Andreev is a true lover of his culture, and his deep attachment to Bulgaria and its musical traditions is felt in every piece - a celebration of the Bulgarian spirit, pride, and beauty. But what particularly connects me to Bulgarian music is the sense of closeness between its culture and Azerbaijani culture. In addition to some similarities in musical motifs, in both cultures, I feel the same warmth and love for traditions and family. The music of Bulgaria and Azerbaijan speaks the same emotional language, uniting peoples through respect for their roots. This kinship creates deep attachment to Bulgarian music within me...

Recently, I also became a member of the Bulgarian rock band Doctors Gogo Band, and this has acquainted me with another side of Bulgarian culture. What is especially important for me is that I felt not only the power of Bulgarian rock music and its traditions but also the humanity that permeates Bulgarian culture through the members of the band. For me, playing with them is not just about music but about how their attitude toward each other and life reveals the true warmth and kindness of the Bulgarian people.

In 2024 you participated in two projects of Brass Perspectives Association: the masterclass of Lars Karlin and the recording session of the Christmas single Sedhel I Fuin (Silent Night in Sindarin). What are your impressions?
Lars Karlin is a wonderful musician, from whom one wants and needs to learn a lot, but he is also a person with whom it’s great to talk about life over a good pint of beer (preferably Belgian beer, which I love so much).😀 It was a great pleasure for me to participate in his masterclass, and I am grateful to the Brass Perspectives Association for organising it.

In the project Christmas Brass and Vocal Jazz single Sedhel I Fuin, my trombonist friends from various Bulgarian orchestras gathered, including Atanas Karafezliev, the professor at the National Music Academy, Jorge Nieto, my colleague from the Vratsa Sinfonietta, Cathy Schule from the State Opera Stara Zagora, and Dimitar Stoev, the bass trombonist from the Bulgarian National Radio Symphony Orchestra. It was a real pleasure to perform the Christmas song Silent Night in an extraordinary arrangement by Daniel Nikolov, featuring a trombone ensemble and vocal ensemble. This arrangement provided an opportunity to view familiar music from a completely new perspective, revealing new shades and emotions. The project was realised and recorded at a high professional level, and I am very happy to have been a part of it. Big thank you to Atanas Karafezliev and Kristina Dencheva, without whom this project would not have been possible. It was truly inspiring! 

And at the end my favourite blitz - 7 questions with very short answers:
Your zodiac sign? 
Aquarius
Your favourite city? 
Brussels
Your favourite book or film based on a book you have read? 
The book «Greenlights» by actor Matthew McConaughey and the film «Midnight in Paris» directed by Woody Allen.
The piece you would like to play as a soloist?
H. Tomasi - Concerto
The stage you would like to be on? 
Berliner Philharmoniker
The moment in time you will never forget? 
A simple phrase from my teacher that changed my thinking: If you never ask, you'll never know...
Azerbaijan in one word?  
Qutab (Azerbaijani folk dish)

Thank you for this romantic interview, Mustafa!
Thank you very much dear Kristina! It was a big pleasure!🙂

This interview is available in Bulgarian