Vazgen Yusupov was born in the year 2003 in the city of Dashoguz, located in Turkmenistan. He initially pursued his musical education at the Children’s Music School No. 1 in Belgorod, where he studied under the guidance of teacher Dmitry Khegay. From 2018 to 2022, he continued his education at the Igor Butman Jazz Academy in Moscow, where he was a student in the class of Professor Evgeny Petrov, who holds the title of Distinguished Artist of the Russian Federation. At present, he is continuing his studies as a student at the Moscow State Tchaikovsky Conservatory, where he remains under the mentorship of the same professor. In 2020, he was named the winner of the Second All-Russian Competition for Young Musicians entitled “Constellation” held in Sochi. In the same year, he was also awarded the Second Prize at the Seventh Moscow Open Competition for Clarinetists and Wind Instrument Ensembles, which was organized by the I. Dunaevsky Children’s Music School in Moscow. The year 2021 saw him achieving first place at the Fourth International “Weber-Clarinet” Competition in Petrozavodsk, located in the Republic of Karelia. In 2022, he became the winner of the Thirteenth International Competition of the Moscow Conservatory for Performers on Wind and Percussion Instruments. In the year 2024, he was awarded the Second Prize at the Fourth All-Russian Music Competition, which took place in Moscow and Saint Petersburg. Since the year 2021, he has been a participant in the programs of the Saint Petersburg Music House.

Vazgen Yusupov: At first, I was extremely sceptical about music as a whole. In my family, most of the men are boxers, champions of Turkmenistan. My uncle is a kickboxer. Naturally, I wanted to follow a similar path and become an athlete—anything but a musician. I grew up in a relatively provincial town, where the unwritten rules of the streets were quite harsh. To maintain my reputation among my peers, I was convinced that I would never take up music. However, my mother had always dreamed of enrolling me in a music school, and as it turned out, it happened quite spontaneously. At that time, we were living in Belgorod. My mother and I were riding on a bus when an elderly man got on. I offered him my seat. It turned out he was a teacher at the local music college, where he taught music theory and harmony. He started a conversation with my mother and said that he could determine what someone should pursue in life just by looking at them. In my case, he was absolutely certain that it was music. My mother’s eyes lit up at this. A few days later, she took me to a teacher who taught clarinet and saxophone, whose phone number this elderly gentleman had given us.
Initially, I chose the saxophone, but after about a year, I realised that I actually enjoyed playing the clarinet much more. My teacher in Belgorod primarily taught at the music college. From the age of ten, I began attending the college regularly, observing older students who practised their instruments tirelessly. I listened to the sounds they produced, and I found it incredibly captivating. The saxophone, I think, was initially appealing because it was so shiny and golden. But in the end, the sound of the clarinet resonated with me much more deeply. 

Saint Petersburg Music House (SPMH): What kind of music did you enjoy as a child? 
Vazgen Yusupov: I have always been very fond of classic rock—The Beatles, Deep Purple, and all the bands in that style. My grandfather, who raised me until I was six years old when we were still living in Turkmenistan, absolutely loves those bands. Naturally, he passed that love for this music on to me. To this day, I adore it and listen to it often. But when classical music entered my life, at the age of ten, I became fascinated by how it works. When I joined the music school, my first teacher was Dmitry Ilyich Khegay. He is a very special person to me. He instilled in me a love for music. I had never imagined myself as a musician, but the moment I stepped into his classroom and he began introducing himself, showing me the instruments, and talking to me, I realised I was incredibly interested and wanted to learn from him. He was such a bright, kind person. He had a profound influence on my musical preferences. I started listening to classical music, and I began playing it as well. From my very first lessons, he introduced me to the culture of Classicism, and later, as I grew older, to Romanticism. Dmitry Ilyich is, therefore, one of the key figures not only in my musical journey but in my life as a whole. Without him, I would not be the person I am today.

SPMH: With which country or culture do you associate the clarinet?
Vazgen Yusupov: There are probably several possible answers to this question. The clarinet was invented around 1690 in Germany, in the city of Nuremberg, by the German craftsman Johann Denner. So, first and foremost, it is a German creation. It features extensively in German music, and I have a great love for the clarinet in German music because it is often given the most splendid, vivid parts—very often associated with themes of love. In Russian music, the clarinet does not play such cheerful roles. For example, one of the most famous clarinet solos is in the Fifth Symphony by Tchaikovsky, and it represents the theme of death. So, in Russian culture, the clarinet carries a darker, more sombre energy. However, since I am Armenian and absolutely adore Armenian music—I could listen to it for hours without stopping—for me, the clarinet is more closely associated with Armenian culture, if we set aside academic music. Although I was born in Turkmenistan, my roots are in Nagorno-Karabakh; my ancestors fled to Turkmenistan to escape the genocide. In any case, Armenia and Armenian culture are my home, my homeland, and what I hold dear. Of course, I think of the vibrant Armenian weddings, with their rich traditional instruments. In Armenia, the clarinet is even considered a folk instrument. Perhaps you’ve heard the joke that Armenians supposedly invented everything in this world. Naturally, I don’t believe that, but still, the clarinet’s role in Armenian culture feels deeply personal to me..

SPMH: How did you end up at the Jazz Academy?
Vazgen Yusupov: When I started making my first significant progress on the clarinet in Belgorod, my teacher decided that it was time to move forward. We thought long and hard about whether I should go to St. Petersburg or Moscow. Since my teacher’s students had already been accepted to the Moscow Conservatory and to the college where Yevgeny Alexandrovich Petrov teaches, we decided to visit him for a consultation first. The first time we met him, I had been playing the clarinet for only two years, but I was already performing Kramář’s concerto.
There was a funny situation during that visit. I was reasonably well-prepared. I had been told to play scales up to three sharps. Somehow, though, I missed the fact that A major and F-sharp minor have three sharps. I only realised this on the day we arrived in Moscow, with just a few hours left before the consultation. I tried to cram it in at the last minute, but it didn’t work out. As I walked to the meeting, my hands and knees were shaking… I was just praying that he wouldn’t ask me to play those cursed A major and F-sharp minor scales. And the moment I walked through the door, the first thing he said was, “Let’s hear A major.” At that moment, I cursed myself, my clarinet, and the entire world. I was so deeply embarrassed.
One of the hallmarks of Yevgeny Alexandrovich’s brilliance as a teacher is his insistence that his students—regardless of their level—pay the utmost attention to the fundamentals of practice: scales, long tones, and all the basics we start with. And even now, despite being a professor and, dare I say it, a truly great clarinetist, he himself continues to practise all these foundational exercises, including scales. I don’t know if I will ever reach the same level of mastery in playing scales as he has, because his scales are absolutely flawless.
In the end, the consultation went well, and I was admitted to his programme, starting with the Jazz Academy. Today, I am in my third year as a student in his class at the Moscow Conservatory. At the Jazz Academy, I studied in the classical department and didn’t delve into the basics of jazz. However, I have some very good friends who introduced me to some incredible jazz music, which I now also love very much.

SPMH: What was the past musical year like for you?
Vazgen Yusupov: The past year was incredibly eventful and remarkable. There were so many changes in my career. I began working with the Russian National Youth Symphony Orchestra, where I had the opportunity to meet a great number of clarinetists, as the orchestra frequently organises masterclasses. We regularly invite leading soloists from Russian orchestras to work with us. This is an unparalleled experience—there’s nothing like it anywhere else in Russia. In terms of my solo career, I am immensely grateful to the Saint Petersburg Music House for all the performances they entrust me with. The sheer number of these opportunities is staggering, and each one feels like a celebration to me. Thanks to the Saint Petersburg Music House, I performed at the Tchaikovsky Concert Hall. That stage is legendary—it has hosted the most renowned musicians, orchestras, and conductors. For me, performing there was an extraordinary experience. I also toured India, which was an incredibly exciting journey. We were welcomed there as if we were heroes. The concert we performed was fantastic—the programme was perfectly curated, and the organisation was exceptional. This kind of dedication is something I always associate with the Saint Petersburg Music House. Regarding competitions, I participated in one in Italy this August and took third place. It was a competition for both clarinetists and saxophonists. In September, I competed in the Czech Republic at a clarinet-only competition. I made it to the second round but, unfortunately, didn’t advance to the finals. Then there was a competition in Belgium, where, sadly, I didn’t progress beyond the first round, although I believe I played well. The Belgian competition is one of the most prestigious and largest clarinet competitions in the world! Over 300 applications were submitted, and only 65 participants were accepted into the first round—I was the only one from Russia! But that’s okay. I absolutely love participating in competitions, and I never despair if I don’t make it through. For me, every competition is a new challenge that motivates me to strive for even greater heights. I have no doubt that sooner or later, I will win.
My final competition in 2024 was the IV All-Russian Music Competition, where I won second prize. This was an incredible experience because the jury included soloists from the Mariinsky Theatre, the Saint Petersburg Philharmonic, and professors from Moscow. I prepared for this competition more than any other and wanted to prove that I am one of the best. In the end, that’s exactly what happened. I am extremely grateful to the Saint Petersburg Music House for its masterclasses. I enjoyed every round of the competition immensely. I would also like to highlight my accompanist, Elena Mikhailovna Serova. We perform together often, and she is probably my favourite accompanist—an absolutely unique person. With her, I feel like I don’t even need to rehearse. I know with absolute certainty that Elena Mikhailovna will understand exactly what I want to do on stage at the very moment I do it musically. If she wasn’t responsible for 50 percent of my success in the competition, then it was certainly at least 30 percent. She accompanied many contestants and supported each of us, treating us not just as colleagues but as if we were her family.

SPMH: This year, you participated in the Summer Academy of the Saint Petersburg Music House in Yalta. How beneficial was this Crimean intensive programme for you?
Vazgen Yusupov: I have been collaborating with the Saint Petersburg Music House since 2021 and have participated multiple times in various programmes, concerts, and masterclasses. The masterclasses always feature different teachers, such as Yevgeny Alexandrovich Petrov and Nikita Alexandrovich Lyutikov. This is another unprecedented opportunity in Russia—there are no other masterclasses with such exceptional organisation. The Saint Petersburg Music House always covers all our travel expenses and even organises excursions for us. I have been attending these masterclasses for three years in a row, and each time I prepare for new competitions. After participating in the masterclasses at the Summer Academy, I won second place in the clarinet competition of the Moscow Conservatory, as well as at the All-Russian Competition this year.
Of course, the solo concerts organised by the Saint Petersburg Music House for us are also an incredible opportunity to showcase our abilities, grow as musicians, expand our repertoire, and collaborate with some of the most outstanding ensembles in the country. I have already performed many clarinet concertos, including those by Nielsen, Weber, and Mozart. And I am certain that this list will continue to grow.

SPMH: Your upcoming performance on January 23 in the Mariinsky Theatre Concert Hall, as part of the Saint Petersburg Music House project, will feature Weber’s Second Clarinet Concerto, written over 200 years ago. What makes this music relevant today? 
Vazgen Yusupov: When it comes to the relevance of classical music in our time, I would say that it has, perhaps, become less relevant. Life used to move at a slower pace, whereas today it is much faster. People are generally less inclined to think deeply. Classical music requires contemplation, but many people have lost the habit of engaging in that. Even in forms of entertainment in the past, you could say there was some intellectual involvement. Nowadays, it is much easier for people to scroll through their social media feeds rather than immerse themselves in something that demands thought. That said, classical music is still relevant. A concerto for a solo instrument with orchestra, for instance, can be seen as a kind of competition between the soloist and the orchestra. This concept dates back to Vivaldi’s time when he wrote his concertos. In the first movement of Weber’s Concerto, there is, arguably, a sense of competition. However, the second and third movements differ greatly. The second is lyrical, tender, and even occasionally tragic. The third movement, on the other hand, features the soloist playing together with the orchestra; there is no sense of rivalry here. It is a polonaise—Weber even marked it in the score as Alla polacca. Of course, different people have different interests. I can’t say that this music is relevant to everyone, but it is certainly relevant to me. It’s relevant to clarinet enthusiasts and lovers of classical music as well.
As for contemporary music, I’m not particularly fond of it, although I sometimes come across very interesting pieces. For example, there is a German clarinetist named Jörg Widmann who has written a series of works, primarily for solo clarinet. His pieces, such as Fantasia or Three Dances, are fascinating to play and listen to because they evoke a wide range of imagery. In Fantasia, for instance, he transcribed the laughter of one of his friends into the score, and it must be performed almost like a joke. However, when it comes to contemporary symphonic music, I don’t always understand the purpose behind it. I believe one should approach modern music with caution and avoid delving too deeply into it, so as not to lose touch with the classical academic norms of performance.

SPMH: In which musical direction would you like to grow?
Vazgen Yusupov: I would definitely like to focus more on developing as a soloist. That’s why I’m always preparing for competitions and looking for more opportunities to perform. At the same time, I find orchestral work incredibly rewarding! Sergei Pavlovich Roldugin once said to me, “Yes, you work in an orchestra, but don’t forget that even within the orchestra, you must still remain a soloist.” I completely agree with these words! I also have a deep love for chamber music. It’s a whole different world within the arts, with so many intricate details to explore. While playing in or with an orchestra feels like using bold, broad brushstrokes, chamber music is more like piecing together a finely detailed mosaic. In the end, I wouldn’t say I have a single direction in mind. I enjoy playing all kinds of music, and I want to grow in as many areas as possible.

SPMH: Which events are you especially looking forward to in the coming year? 
Vazgen Yusupov: I am currently preparing for two international clarinet competitions. The first one will take place in the summer in Romania, and the second is the renowned ARD competition in Munich. I am eagerly anticipating the opportunity to perform there and show what I am capable of. I am confident that the Saint Petersburg Music House will fully support me in this endeavour, as they already do in so many ways! I would like to take this opportunity to once again express my gratitude to the entire team at the Saint Petersburg Music House. Your contribution is truly invaluable!

Interview by Tatyana Mikhailova