Applauded for his “gleaming trumpet work” (Hyde Park Herald), “dazzling virtuosity” (Grunion Gazette), “immaculate intonation” (Boston Globe), and “superb control of dynamics and phrasing” (Boston Globe), trumpeter Justin Bland is a versatile musician, performing on both historical and modern trumpets. He specializes in early music, most notably in difficult high-register music for Baroque trumpet; for example, he has played Bach’s Brandenburg Concerto No. 2 with groups in Canada, Colombia, Denmark, Germany, Portugal, Serbia, Spain, Sweden, and the USA. Before formally studying Baroque trumpet, Justin won first prize in multiple historical instruments divisions of the National Trumpet Competition. As a highly sought-after solo/principal Baroque trumpeter deemed “most likely to win a gold medal, if music had Olympics” (Boston Globe), Dr. Bland has performed with several leading early music ensembles throughout North America including American Bach Soloists, Apollo’s Fire, Bach Collegium San Diego, Boston Baroque, Boston Early Music Festival Orchestra, Handel and Haydn Society, Lyra Baroque Orchestra, Musica Angelica, Opera Lafayette, Scaramella, Tempesta di Mare, Washington Bach Consort, and many others. He has also played in South America with Ensamble Barroco de Bogotá.
Now living in Denmark, Justin continues to perform as both a soloist and ensemble musician, combining ongoing North American engagements with new collaborations with leading Baroque ensembles in Denmark as well as in the rest of Scandinavia and Europe. In Europe he has played with Akademie für Alte Musik Berlin, Arte dei Suonatori, Barockorchester L’Arco, Barocktrompeten Ensemble Berlin, Barokksolistene, BaroqueAros, Camerata Øresund, Croatian Baroque Ensemble, Enghave Barok, ensemble Paulus Barokk, Finnish Baroque Orchestra, Göteborg Baroque, Göttinger Barockorchester, Händelfestspielorchester Halle, Höör Barock, Les Arts Florissants, Nivalis Barokk, the Næstved Early Music Festival, Orkester Nord (previously known as Trondheim Barokk), Les Sacqueboutiers, Sächsisches Barockorchester, TSO Tidlig (the early music band of the Trondheim Symphony Orchestra & Opera), Wrocław Baroque Ensemble, and several others. He has also played Baroque trumpet with modern instrument ensembles including Camerata Lyckensis, Camerata Nordica, Esbjerg Ensemble, Kammerakademie Potsdam, and Karlskrona Kammarorkester.
As a modern trumpeter, Justin has experience performing in orchestras, wind ensembles, jazz ensembles, pit orchestras for opera and musical theater, British brass bands, and numerous chamber ensembles. Before beginning his college career, he was principal trumpeter of the DC Youth Orchestra and had the opportunity to tour Japan as a trumpet soloist. He also performed regularly with the Prince George’s Philharmonic while in high school. More recently, he as appeared as a soloist with the South Dakota Symphony, the Firelands Symphony, and the Las Vegas Sinfonietta.
In addition to being a trumpeter, Justin is also a countertenor and has sung with Apollo’s Fire and Opera Cleveland. While in Ohio working on his Master’s degree, he was an alto section leader in the chamber and chancel choirs at Trinity Cathedral in downtown Cleveland and was the countertenor with Cantores Cleveland (now Contrapunctus). Justin also plays recorder and has performed with ensembles including Croatian Baroque Ensemble, Enghave Barok, Finnish Baroque Orchestra, Göttinger Barockorchester, Nivalis Barokk, and Orkester Nord.
Justin earned his DMA in trumpet performance from the University of Nevada, Las Vegas. He received his MA in early music performance practices from Case Western and his BM in trumpet performance from the University of Maryland. His primary trumpet teachers include Chris Gekker, Barry Bauguess, Steven Hendrickson, Steven Trinkle, and Justin Emerich. He has studied voice with Delores Zeigler, Ellen Hargis, and Aaron Sheehan. As a graduate assistant, Justin taught courses in ear training and music appreciation, and was a harpsichord tuner.
—————
The Boston Globe
“It’s rare to hear a perfect ‘The Trumpet Shall Sound’ on baroque trumpet. Justin Bland delivered.
…But the performance’s ace in the hole was trumpeter Justin Bland, an American based in Copenhagen who has quickly established a reputation for playing difficult brass repertoire on the famously finicky baroque trumpet. At any period-instrument “Messiah,” it’s almost a foregone conclusion that the horn in “The Trumpet Shall Sound” will flub a note or five, but it’s chiefly there to support the singer, and any minor mistakes can be overlooked.
This wasn’t the case on Sunday. Bland was almost impossibly note-perfect, the sound of the baroque trumpet shining like white gold. He maintained superb control of dynamics and phrasing while climbing the solo’s heights, and Blumberg’s singing sounded like support for the instrument, rather than the other way around. When applause broke out at the end of the aria, Blumberg graciously turned around to face Bland, turning his back to the audience so the trumpeter could accept those well-deserved accolades.“
Post-Bulletin
“The orchestra brought out the pulsy organ-grinder quality in the first movement of Concerto 3, but it was [Brandenburg] Concerto 2 that was the real show-stopper. Justin Bland, on Baroque trumpet, trilled his way nearly effortlessly through one of the most difficult parts in the repertoire, the highest notes piercingly clear above the orchestra.”
The Boston Globe
“When I review a concert, I have to summarize a bushel of ephemeral experiences in a couple of neat paragraphs. Often there isn’t so much room to expand on the moments that stick with me long after the applause dies down and the seats empty. With this year-end list, I’m seizing the chance to remind everyone of those moments worth remembering from this year of live performances…
Most likely to win a gold medal, if music had Olympics
JUSTIN BLAND, trumpeter, Boston Baroque
Coming in at the last possible minute to make this list, American trumpeter Justin Bland wowed the Jordan Hall audience during Boston Baroque’s annual run at Handel’s “Messiah” with his gleaming tone and dynamic phrases during “The Trumpet Shall Sound,” a famous and fiendishly difficult aria for low voice with a leaping trumpet solo. It’s tricky enough on a modern instrument, and on the valveless baroque trumpet, it’s about as easy as taking a snowplow down a slalom ski course. Bland’s stamina was magnificent, his understanding of the music masterful. The audience recognized it with spontaneous applause after the aria — and so did baritone Jesse Blumberg, who stepped aside to let Bland take the spotlight.”
Custos Tidskrift
“Aftenens stjerne [Justin Bland] udstråler en nærmest indadvendt “coolness”, når han betvinger instrumentet [baroktrompeten]. Ingen nerver her, kun kontrol. Og ganske rigtigt, Hertels herlige værk blev netop til kammermusik, hvor trompeten deltog i en samtale med sine træblæserkolleger…vi fik netop en fin kammermusikoplevelse, som til fulde bekræfter, at baroktrompeten har en helt afgørende eksistensberettigelse…
Og netop Telemann lagde navn til en koncert for to oboer, trompet og continuo. Det gjorde rigtig godt med et rytmisk drive og et klangligt raffinement, som fik mig til at sætte hvidvinsglasset ned. Igen smeltede trompeten sammen med de to diverterende oboer, og Bland var i sit es…
Atmosfæren ved café-bordene i det smukke rum var begejstret, og der blev klappet så meget, at gruppen sluttede med et lille ekstranummer af tysk-engelsk Pepush. Endnu en fin KoncertKirke-oplevelse i Björn Ross’s Early Monday-regi.”
[The star of the evening [Justin Bland] radiates an almost introverted “coolness” when he subdues the instrument [baroque trumpet]. No nerves here, just control. And sure enough, Hertel’s glorious work became chamber music, where the trumpet took part in a conversation with it’s woodwind colleagues…we just had a fine chamber music experience, which fully confirms that the baroque trumpet has an absolutely decisive right to exist…
And it was Telemann who gave his name to a concerto for two oboes, trumpet and continuo. The rhythmic drive and a sonorous sophistication made me put down my glass of white wine. Again the trumpet merged with the two diverting oboes, and Bland was in his element…
The atmosphere at the café tables in the beautiful room was enthusiastic, and there was so much clapping that the group finished with a small encore by German-English Pepush. Another fine KoncertKirke experience under Björn Ross’s Early Monday auspices.]
Custos Tidskrift
“Orkesteret, som medvirkede ved næsten alle koncerter, havde festivalens kunsteriske leder i spidsen – amerikanske Justin Bland som på sin naturtrompet demonstrerede, at trompeten kan indgå på lige fod med strygerne og continuo-orglet (hver dag trakteret af utrættelige Søren Gleerup Hansen) – dog ikke i Pavel Josef Vejvanovskýs sonate, som nærmest var en trompetkoncert med melodiske temaer og en strålende Justin Bland.”
[The orchestra, which participated in almost all the concerts, was led by the festival’s artistic director – American Justin Bland who, on his natural trumpet, demonstrated that the trumpet can be included on an equal footing with the strings and the continuo organ (played tirelessly by Søren Gleerup Hansen) – but not in Pavel Josef Vejvanovský’s sonata, which was almost a trumpet concerto with melodic themes and a brilliant Justin Bland.]
The Boston Musical Intelligencer
“[Brandenburg Concerto] No. 2 in F Major began the second half, with Justin Bland on trumpet, Priscilla Herreid on recorder, Debra Nagy on oboe, and Nosky on violin. Bland tackled his famously difficult part with impressive clarity and control. The other soloists complemented the trumpet with matching clarion calls. The recorder gently floated above the multilayered instrumental textures. In the second movement, the oboe, violin, and recorders’ melodies sang out in counterpoint, each finding a place in Bach’s rich mosaic, the personalities swirling about like a florid arabesque. Finally, the decisive, high-spirited third movement proceeded, with Bland projecting the high trumpet figures with bright alacrity and stunning radiance.”
Edmonton Journal
“It [the Baroque trumpet] is more difficult to play than its modern counterpart, but it’s a fascinating and arresting sound. The trumpet part in the second [Brandenburg] concerto is famous for its fiendish difficulties, and Justin Bland played it with aplomb.”
Politiken
” ‘Messias’ i Den Sorte Diamant lagde lovlig stor vægt på det indadvendte og triste. Men sangerne var gode, og trompeten var fantastisk…
Det betød, at kun de første to af værkets tre dele blev spillet og sunget – endda med en del udeladte numre – og på den måde kunne Camerata Øresund slutte af med ‘Hallelujakoret’, der falder netop som afslutning på anden del. Lidt havde de dog fiflet, for når man har så fantastisk en solist på baroktrompet som Justin Bland, skal han have lov at spille sine toner i basarien ‘The Trumpet Shall Sound’, hvilket han gjorde til perfektion. Selv om den egentlig først hører til i oratoriets tredje og afsluttende del.”
[‘Messiah’ in The Black Diamond placed great emphasis on the introverted and sad. But the singers were good and the trumpet was amazing…
This meant that only the first two of the work’s three parts were played and sung – even with some omitted numbers – and in this way Camerata Øresund could end with the ‘Hallelujah Chorus’, which falls just as the end of the second part. They fiddled a bit, though, because when you have such a fantastic baroque trumpet soloist as Justin Bland, he must be allowed to play his notes in the bass aria ‘The Trumpet Shall Sound’, which he did to perfection. Although it belongs in the third and final part of the oratorio.]
American Recorder Magazine
“”From Heavenly Harmony: Handel’s Ode for St. Cecilia’s Day and Bach’s Magnificat” was a joint effort of musicians from the BEMF opera orchestra and Belgian early music vocal ensemble Vox Luminis…
An exclamation of “wow” must apply to the orchestra’s entire valveless Baroque trumpet section, especially the accuracy and tone of the young principal Justin Bland.”
The Boston Globe
“A scattering of audience members headed out afterward, with the performance approaching the 2½-hour mark. They missed some of the best moments of the afternoon…Outlaw’s simple, direct “Behold, I tell you a mystery” created suspense; “The trumpet shall sound” delivered, deep and authoritative, in duet with Justin Bland’s gleaming, dancing trumpet. The audience broke into sustained applause; Outlaw got a handshake from Pearlman and then fist-bumped with Bland.”
Grunion Gazette
“…trumpeter Justin Bland displayed dazzling virtuosity in the solo cantata [Jauchzet Gott in allen Landen]…”
Viborg Stifts Folkeblad
“Og så er det jo spændende, om bassanger og trompet står distancen i den lange arie “The trumpet shall sound.” Men her var ingen slinger. Med stor og fast stemme sang Lucas Bruun de Neergaard den pompøse tekst om opstandelsen på den yderste dag, ledsaget af en klangskøn baroktrompet, udført af Justin Bland. Herligt!”
[And then it’s exciting if bass and trumpet are able to deliver in the long aria “The trumpet shall sound.” But no problems here. With a big and firm voice, Lucas Bruun de Neergaard sang the pompous text about the resurrection on the last day, accompanied by a beautiful sounding baroque trumpet, performed by Justin Bland. Wonderful!]
Klassisk bureau
“Der var helt klassisk barok fra Händels ”Orlando” fra 1733, ligesom vi fik D. Buxtehudes ”Jubilate Domino”. Fra den mere hengemte kasse lød tonerne fra J W. Hertel i hans trompetkoncert nr. 3 i D-dur samt en koncert for trompet og obo. Og hvilken trompet og obo.
Som en særlig gæst stod multitalentet Justin Bland fra USA i front som både sanger, trompetist og ensembleleder; hans baroktrompet mindede mest om en rekvisit fra Den Gamle By med sin særlige længde, sit blå bånd og den matte messing. Men der var en god og slank klang i det smukke instrument. Justin Bland lagde flot ud med Hertels trompetkoncert, som fik en triumferende og jublende start, ligesom der i en senere sats var plads til eftertænksomhed og stille alvor. Der kunne dog godt have været mere power i violinerne, og det kom der desværre først noget senere i koncerten. Men der var mange smukke passager, hvor trompeten stod flot frem med et flot akkompagnement fra resten af gruppen.
I ”Jubilate Domino” åbenbarede Justin Bland sig desuden som en meget fin kontratenor. Det at hans stemme har en vis runding, varme og samtidig dybde og fylde i det høje leje, giver en meget behagelig klang, som nok er lidt atypisk for kontratenorer. Han sang desuden med indlevelse og nærvær, og det gjorde sangen interessant for publikum, som fyldte godt på kirkebænkene i Skt. Mortens Kirke denne lørdag.
Alt i alt en meget fin, velproportioneret og vellykket koncert, der igen minder os om, at barokmusikken stadig er sprællevende og inspirerende. At man tilmed skulle støde på et atypisk multitalent, var kronen på barokværket.”
[There was classic baroque from Handel’s “Orlando” from 1733, as well as D. Buxtehude’s “Jubilate Domino”. From the more or less unknown repertoire sounded the notes of J W. Hertel in his trumpet concerto no. 3 in D major as well as a concerto for trumpet and oboe. And what a trumpet and oboe.
As a special guest, the multi-talented Justin Bland from the USA was at the front as both singer, trumpeter and ensemble leader; his baroque trumpet was most reminiscent of a prop from the Old Town with its particular length, its blue band and the matte brass. But there was a good and slender sound in the beautiful instrument. Justin Bland made a great start with Hertel’s trumpet concerto, which got off to a triumphant and jubilant start, just as in a later movement there was room for thoughtfulness and quiet seriousness. However, there could well have been more power in the violins, and unfortunately that only came somewhat later in the concert. But there were many beautiful passages where the trumpet stood out beautifully with a nice accompaniment from the rest of the group.
In “Jubilate Domino”, Justin Bland also revealed himself as a very fine countertenor. The fact that his voice has a certain roundness, warmth and at the same time depth and voluminousness in the high range gives a very pleasant sound, which is probably a little atypical for countertenors. He also sang with empathy and presence, and that made the song interesting for the audience, who filled the pews in St. Mortens Church this Saturday.
All in all, a very fine, well-proportioned and successful concert that once again reminds us that baroque music is still lively and inspiring. The fact that one should also come across an atypical multi-talent was the crowning glory of the baroque work.]
Hans Krarup
“…Vivaldis GLORIA er altid et sikkert ”hit”, blot man har et dygtigt kor foran sig, og et orkester med en dygtig trompetist og oboist, samt et par vokalsolister, som kan mere end deres ”Fader Vor”. Kristine Vad havde sørget for det hele. Barokorkestret Originalerne.org havde glimrende solister, der mestrede de smukt klingende kopier af originalinstrumenter, og solisterne Frederikke Kampmann, Nana Bugge Rasmussen og Emil Lykke sang som de rene engle…
Inden Vivaldis GLORIA havde Kristine Vads bror Jakob Vad med autoritet og flot teknik fremført et andet ”hit” fra alle bassers yndlingsrepertoire: ”The Trumpet shall sound” af Händels ”Messias”. Jakob Vad har klang og kraft i sin stemme, som matchede fint til Justin Blands suveræne baroktrompetspil.”
[…Vivaldi’s GLORIA is always a sure “hit” as long as you have a skilled choir in front of you, and an orchestra with a skilled trumpeter and oboist, as well as a few vocal soloists who know more than their “Our Father.” Kristine Vad had taken care of it all. The baroque orchestra Originalerne.org had excellent soloists who mastered the beautifully sounding copies of original instruments, and the soloists Frederikke Kampmann, Nana Bugge Rasmussen and Emil Lykke sang like the pure angels…
Before Vivaldi’s GLORIA, Kristine Vad’s brother Jakob Vad had with authority and great technique performed another “hit” from all bass’ favorite repertoire: “The Trumpet Shall Sound” from Handel’s “Messiah.” Jakob Vad has timbre and power in his voice, which matched nicely with Justin Bland’s superb baroque trumpet playing.]
The Boston Globe
“Thursday evening’s primetime concert featured the temporary merger of Belgian vocal ensemble Vox Luminis and the Boston Early Music Festival Orchestra, performing two Baroque heavyweight pieces: first Handel’s cantata “Ode for St. Cecilia’s Day,” then Bach’s evergreen “Magnificat.” Standing on a raised platform surrounding the orchestra during the “Ode,” the chorus (10 singers, plus five locals to pad out some sections of the music) sounded cooly evenhanded, almost omniscient, in contrast to the ecstatic noise of the instruments below. As the text namechecked individual instruments, they each took the spotlight. Cellist Phoebe Carrai’s winding, whirling solo representing the lyre was glorious, and baroque trumpeter Justin Bland responded to tenor Florian Sievers’s call to arms with immaculate intonation.”
Jakob Christensen-dalsgaard
“…selvom Messias er standard-repertoire i juletiden, står den opførelse, jeg hørte (22. november) for mig som den bedste, jeg endnu har hørt i koncert. Det skyldes til dels sangsolisterne…, den altid gode Justin Bland på baroktrompet (og som alt-korist indimellem), men også et meget velsyngende og velspillende kor og orkester…”
[… Even though Messiah is standard repertoire at Christmas time, the performance I heard (November 22nd) stands out to me as the best I have yet heard in concert. This is partly due to the vocal soloists…, the always good Justin Bland on the baroque trumpet (who also sang alto in the choir), but also a very well-singing and well-playing choir and orchestra…]
Classical Voice of North Carolina
“Skilled [Baroque trumpet] players can play the notes of the harmonic series with such instruments. A very refined embouchure is needed to “lip” or flatten or sharpen the impure harmonics of the notes of the 11th and 13th harmonics. The most virtuosic could use such techniques to produce certain chromatic notes outside this series…Justin Bland made such skills seem effortless…”
The Boston Musical Intelligencer
“But he too proved an inviting presence when called upon. “The trumpet shall sound” lilted majestically, Williams’s voice sounding bold against natural trumpeter Justin Bland’s lyrical graces. They earned a rousing ovation.”
Grunion Gazette
“Onstage, the performers exhibited an astonishing level of virtuosity, both as an ensemble and in solos…Justin Bland, with a heraldic trumpet that lacked valves or keys, produced beautiful sounds in a work by Johann Melchior Molter.”
The WholeNote
“Bland by name only! A good trumpet player is hard to find, and an excellent one harder still. It’s again still rarer to find a great player of the baroque trumpet, since the instrument is considerably harder to play than its modern counterpart (smaller embouchure, no valves) and this may explain why Justin Bland is so darn busy and why he plays with, well, basically everyone.”
Greg Hettmansberger, writer for Madison Magazine
“Add in the splendors of Baroque trumpets (with Justin Bland delivering nuanced playing in “The trumpet shall sound,”)…and our cup runneth over with highlights.”
Culver City Observer
“For this performance of Bach’s Christmas Oratorio, BWV 248, Cantata “Jauchzet Gott in allen Landen” for Soprano, Trumpet and Orchestra, BWV 51, and other favorites, Haselbock recruited five accomplished soloists. Justin Bland on trumpet, soprano Andreanne Brisson-Paquin, alto Dylan Hostetter, bass-baritone Scott Graff, and tenor Pablo Cora….
The combination of Bland’s virtuoso trumpet playing and Paquin’s melodic soprano voice sounded glorious and heavenly during their rendition of “Jauchzet.” The emotion expressed in this piece is pure joy, in the opening both singer and trumpeter employed breathtaking coloraturas.”
music critic Clarke Bustard
“In these performances, trumpeter Justin Bland alternated between instruments, playing a modern valved trumpet in the Saint-Saëns and a valveless “natural” trumpet, for a better blend with two flutes in a wind chorus, in the d’Indy octet.
In both pieces, Bland ably reined in volume and brightness, keeping his instrumental lines within the fabric of ensembles rather than blaring over them – a peril that explains the scarcity of trumpet parts in chamber works with strings.”
Fyens Stiftstidende – Fyns Amts Avis
“…Justin Blands store ekspertise bevidnedes glimrende i resten af koncerten.”
(Sirp) [Estonian Cultural Newspaper]
“Arte dei Suonatori jäi meelde oma noore, aga mängulaadilt küpse koosseisuga ja suurepäraste solistidega. Eredaks kogemuseks oli Justin Blandi virtuoosne mäng barokktrompetil, millel ta esitas Johann Wilhelm Herteli trompetikontserdi.”
[Arte dei Suonatori remained remembered by its young but mature line-up and excellent soloists. The vivid experience was Justin Bland’s virtuoso playing on the baroque trumpet, on which he performed Johann Wilhelm Hertel’s trumpet concerto.]
Sjællandske – Jens Due, Formand for Næstved Musikforening
“Man kunne godt lade sig rive med og næsten ikke bemærke de enkelte stemmer og instrumenter. Af disse var det især eftermiddagens hovedperson, den yderst velspillende Justin Bland…der gjorde sig godt gældende og på den mest elegante vis.”
[One could get carried away and hardly notice the individual voices and instruments. Of these, it was especially the main character of the afternoon, the extremely well-playing Justin Bland…who stood out and in the most elegant way.]
Edmonton Journal
“No such context, though, was needed for the infectious encore, where [Justin] Bland set aside his trumpet, and sang counter-tenor to Bailey’s soprano in Purcell’s Sound the Trumpet from the Ode for Queen Mary’s birthday. Perfect for May Day, and by coincidence, for the old Queen’s birthday, which was on April 30.”
Boston Classical Review
“Bach expressed such reverence through the instrumental writing [in his Mass in B Minor], and Boston Baroque’s period instrument orchestra revealed every nuance….
Instrumental soloists were superb….Trumpeters Justin Bland, Jesse Levine, and Vincent Monaco played with a celebratory zeal fit for this golden anniversary season.”
Justin Bland, Baroque and Modern Trumpet 