Composers

Bio -   ITALIAN  

ALESSANDRO MACRÌ Musicista -   Compositore –   Arrangiatore – Produttore discografico

Si diploma in Corno sotto la guida del Maestro Filippo Azzaretto, presso il Conservatorio di Musica "F. Cilea" di Reggio Calabria.  Si laurea in Didattica Strumentale (Bi.For.Doc.) presso il Conservatorio "S. Giacomantonio" di Cosenza. È Docente di Corno dell'I. C. "Forum Novum" di Torri in Sabina (Rieti).

Ha preso parte all’Italian Brass Week di Cesena come Docente Internazionale della Junior Brass. Si è perfezionato ai Corsi dell’Accademia Nazionale S. Cecilia a Roma e della Scuola di Musica di Fiesole (Firenze) con i maestri Guido Corti e Alessio Allegrini. Ha partecipato alle Masterclasses dei maestri: Dale Clevenger, Radovan Vlatkovic, Frank Lloyd, Hans Pizka, Charles Vernon, Jean-Pierre Cénédese, Jeff Nelsen, Norbert Sterz, Luca Benucci, Ugo Favaro e Alessandro Saraconi.

Ha preso parte come solista e arrangiatore all’Incontro Internazionale di Cornisti "Guelfo Nalli" che annualmente si organizza a Supino (Frosinone).

Ha eseguito da solista, con l’Orchestra Giovanile del Conservatorio "F. Cilea" di Reggio C., il Concerto n°3 in Mi bemolle maggiore KV 447 per Corno e Orchestra di W. A. Mozart.

Si è esibito come solista della Band della cantante Dolcenera nei brani: "Niente al mondo" al Coca Cola Summer Festival, vincendo il Premio RTL 102.5 - Canzone dell'estate 2014 e "Un altro giorno sulla terra" al Wind Summer Festival, trasmessi sulle reti televisive e radiofoniche: Canale 5 di Mediaset, RTL 102.5 e Radio 105. Ha avuto modo di partecipare ai Seminari Internazionali di Formazione Orchestrale, esibendosi con l’Orchestra Sinfonica Internazionale Giovanile "F. Fenaroli" di Lanciano (Chieti).

È stato invitato per l’audizione da 2° e 3° Corno presso la Boston Symphony Orchestra.

Ha collaborato con orchestre, quali: Conservatorio di Musica "F. Cilea" di Reggio C., Giovanile del Conservatorio di Musica "G. Verdi" di Milano, Giovanile dell’Emilia Romagna "A. Toscanini" di Parma, Conservatorio di Musica "E. R. Duni" di Matera, V. Galilei di Fiesole con la quale il M° Gabriele Ferro ha tenuto i suoi Corsi di Direzione d’orchestra, Conservatorio di Musica “A. Buzzolla” di Adria (RO), Istituto Musicale Briccialdi di Terni, Filarmonica di Benevento, Mannheimer Philharmoniker (Germania), Conservatorio di Musica “C. Monteverdi” di Bolzano (i concerti sono trasmessi sulla RAI Südtirol) e Filarmonica della Franciacorta.

Ha avuto l'idoneità alle audizioni nazionali, nelle orchestre quali: Giovanile dell’Emilia Romagna "A. Toscanini" di Parma, MaggioFormazione del Teatro Maggio Musicale Fiorentino di Firenze e Conservatorio di Musica "E. R. Duni" di Matera.

Ha iniziato un percorso nella Musica Antica con la partecipazione al Progetto “Messa in Si minore – J. S. Bach” nell’ambito dell’Early Music Festival di Roma con il M° E. Pecchinini (il documentario è andato in onda su Rai 5) e la collaborazione con la Enea Barock Orchestra.

Si dedica all’attività concertistica con varie formazioni di ottoni e gruppi da camera, ed è fondatore del Movie Brass Quintet   con il quale ha inciso gli Albums: "Symphonic Sounds" - edito da Always Records P. Studio & Thaurus Publishing e "ACTION!" edito da Valle G. Ed. Musicali e ApplausoUS (USA) e altri Singoli: That’s a Plenty - L. Pollack, Natale sarà - A. Macrì & D. Ciotoli (Premiato al Concorso Nazionale di Arte e Letteratura “Manuel Foderà” di Catania) e Nel mezzo del cammin di nostra nota - L. Sebastianelli.

Ha pubblicato e distribuito numerose composizioni originali e arrangiamenti di musica per fiati, tra cui un Libro per Corno “STEP by STEP” edito Music Macrì Editions (Digital Publishing), nei migliori Bookstore digitali: Sheet Music Plus, Amazon, Google Books, Apple Books, Hoepli, IBS, Kobo Books, LaFeltrinelli, Libreria Universitaria e Mondadori.

Le musiche sono state eseguite nei Festivals, quali: Incontro Internazionale di Cornisti "G. Nalli", Santa Fiora in Musica, Sardigna Brass Festival, Venezia Suona Festival, Le Giornate Europee del Patrimonio italiano e Italian Brass Week di Cesena e di Firenze.

Le musiche sono eseguite in tutto il mondo da diverse formazioni di ottoni, quali: BUSINA BRASS, KOLIN BRASS, SAN ANTONIO BRASS, UNDERGRADUATE BRASS, ELDER CONSERVATORIUM BRASS, SMU SYMPHONIA BRASS, TUBILUSTRIUM BRASS ENSEMBLE, TROMPAS LUSAS HORN QUARTET, SOMMERSTAD BRASSKVINTETT, CARAVELA BRASS, CONCENTUS OTTONI dell’ARENA DI VERONA, BRASS QUINTET del MAGGIO MUSICALE FIORENTINO, PANAMA BRASS, GOLDEN HORN BRASS e BRASS QUINTET del Teatro dell’Opera di Roma.

Ha fondato la Macrì Productions (etichetta discografica), che si occupa della produzione e distribuzione musicale italiana ed internazionale nei migliori Store digitali: iTunes, Youtube, Spotify, Amazon, Deezer e Google Play.

Bio –   ENGLISH

ALESSANDRO MACRÌ Musician -   Composer –   Arranger – Producer

He graduated at the Conservatory of Music "F. Cilea" of Reggio Calabria, and specialized in Horn under the guidance of teacher Filippo Azzaretto. He graduated in Instrumental Teaching (Bi.For.Doc.) at the Conservatory "S. Giacomantonio" of Cosenza. He is Professor of Horn at the Forum Novum State Secondary School of Rieti.

He took part in the Italian Brass Week of Cesena as   International   Professor of the Junior Brass. He attended training courses at the National Academy "S. Cecilia" in Rome and at the School of Music of Fiesole (Florence) with the teachers Guido Corti and Alessio Allegrini.  He participated in master classes of teachers such as: Dale Clevenger, Radovan Vlatkovic, Frank Lloyd, Hans Pizka, Charles Vernon, Jean-Pierre Cenedese, Jeff Nelsen, Norbert Sterz, Luca Benucci, Ugo Favaro and Alessandro Saraconi.

He took part as a soloist in the International Meeting of Hornist "Guelfo Nalli", organized annually in Supino (Frosinone).

He performed as soloist with the Youth Orchestra of the Conservatory "F. Cilea" of Reggio C., the Concert No. 3 in E flat Major for Horn and Orchestra KV 447 of W. A. Mozart.

He performed as soloist in Dolcenera’s band in the following songs: "Niente al mondo" at the Coca Cola Summer Festival (winning the RTL Award 102.5 - Summer Song 2014) and "Un altro giorno sulla terra" at the Wind Summer Festival, broadcast on TV and radio networks Channel 5 of Mediaset, RTL 102.5 and Radio 105. He had the opportunity to participate in international seminars of orchestral training, performing with the Youth Symphony Orchestra "F. Fenaroli" of Lanciano (Chieti).

He was invited to the casting for the 2nd and 3rd Horn at the Boston Symphony Orchestra.

It collaborates with orchestras such as: Conservatory of Music "F. Cilea" of Reggio C., Youth Orchestra of the Conservatory of Music "G. Verdi" of Milan, Youth of the Emilia Romagna  "A. Toscanini" of Parma, Conservatory of Music "E. R. Duni" of Matera, V. Galilei di Fiesole in which Gabriele Ferro held his courses in orchestral conducting, Conservatory of Music “A. Buzzolla” of Adria (RO), Briccialdi Musical Institute of Terni, Benevento Philharmonic, Mannheimer Philharmoniker (Germany), Conservatory of Music “C. Monteverdi” of Bolzano (the concerts are broadcast on RAI Südtirol) and Philharmonic of Franciacorta.

He was eligible to play in orchestras such as: Youth of the Emilia Romagna "A. Toscanini" of Parma, MaggioFormazione of the Theatre Musical May Fiorentino of Florence and Conservatory "E. R. Duni" of Matera.

He began a journey in Early Music joining the Project "Mass in B minor - J. S. Bach" within the Early Music Festival of Rome with M° E. Pecchinini (the documentary was broadcast on Rai 5) and a collaboration with the Enea Barock Orchestra.

He currently plays with various brass and chamber groups, and he is founder of the Movie Brass Quintet with whom he recorded the Albums: "Symphonic Sounds" - published by Always Records, P. Studio & Thaurus Publishing and "ACTION!" published by Valle G. Ed. Musicali & ApplausoUS (USA) and other singles: That’s a Plenty - L. Pollack, Natale sarà - A. Macrì & D. Ciotoli (Awarded at the National Competition of Art and Literature "Manuel Foderà" in Catania) and Nel mezzo del cammin di nostra nota - L. Sebastianelli.

He has published and distributed numerous original compositions and arrangements of music for wind, including a Book for Horn "STEP by STEP" published by Music Macrì Editions (Digital Publishing), in the best digital Bookstores: Sheet Music Plus, Amazon, Google Books, Apple Books, Hoepli, IBS, Kobo Books, LaFeltrinelli, Libreria Universitaria e Mondadori.

The music was performed in Festivals, such as: International Meeting of Hornist "G. Nalli", Santa Fiora in Music, Sardigna Brass Festival, Venice Plays Festival, The European Days of Italian Heritage and Italian Brass Week in Cesena and in Florence.

The music is performed all over the world from different brass formations, such as: BUSINA BRASS, KOLIN BRASS, SAN ANTONIO BRASS, UNDERGRADUATE BRASS, ELDER CONSERVATORIUM BRASS, SMU SYMPHONIA BRASS, TUBILUSTRIUM BRASS ENSEMBLE, TROMPAS LUSAS HORN QUARTET, SOMMERSTAD BRASSKVINTETT, CARAVELA BRASS, CONCENTUS OTTONI of the ARENA DI VERONA, BRASS QUINTET of the MAGGIO MUSICALE FIORENTINO, PANAMA BRASS, GOLDEN HORN BRASS and BRASS QUINTET of the ROME OPERA HOUSE.

He founded Macrì Productions (record label), which deals with the Italian and international music production and distribution in the best digital Stores: iTunes, Youtube, Spotify, Amazon, Deezer. and Google Play.

Si è Laureato brillantemente in Pianoforte e in Jazz presso il Conservatorio di Musica “A. Casella” dell’Aquila frequentando per sette anni il Corso di Composizione sotto la guida del M° A.  Cusatelli. Laureato in Didattica della Musica e Abilitato in Pianoforte presso il Conservatorio di Musica “Santa Cecilia” di Roma. Si è perfezionato in arrangiamento jazz con il M° P. Principato e ha frequentato il corso di pianoforte jazz ed arrangiamento per Big Band con il M° R. Biseo presso il Saint Louis Music Center di Roma. Collabora con Rosalia Misseri con la quale, in qualità di pianista, ha suonato in numerose trasmissioni Rai come “Nel nome del Cuore” (Rai 1), “Buon Natale con Frate Indovino” (Rai 2) entrambi in diretta ad Assisi, “Uno Mattina Estate” Rai 1 e come coautore ha realizzato il disco “Di quale amore sei” insieme ad Andrea Tosi ed alla stessa Rosalia Misseri. Collabora come pianista e tastierista con Raffaello Simeoni suonando all’Auditorium Parco della Musica di Roma e in molti altri teatri e festival italiani con artisti del calibro di L. Galeazzi, A. Vacca, Tosca, Micrologus, M. Giuntini. E’ pianista e arrangiatore nel progetto “Pasiones y Milagros al sur” di Lucia Casagrande Raffi andato in scena al ridotto del Teatro Comunale di dell’Aquila nel cartellone dell’ISA. Ha registrato per il canale satellitare RAISAT e successivamente ha frequentato il corso per Arrangiatori e Direttori d’orchestra tenuto dal M° P. Vessicchio e B. Sartori. Ha realizzato musiche per numerosi CD e DVD per programmi televisivi di Rai come “Ballarò”, “Porta a Porta”, “Geo & Geo”, “L’Arena”, “Cominciamo Bene” e molti altri e per il canale LA7 come per il programma “Di Martedì”. È autore della Sigla del Tour de France per Radio Rai Uno nelle Edizioni 2008/2009 condotte da Riccardo Cucchi. Svolge intensa attività concertistica insieme al M° S. Sacco al flauto traverso e con il Musi’ trio riscuotendo sempre consensi favorevoli da parte di pubblico e critica. È pianista dell’Art & Jazz Big band.

Applauded for his “gleaming trumpet work” (Hyde Park Herald) and “dazzling virtuosity” (Grunion Gazette), the American 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 Denmark, Germany, Portugal, Sweden, Spain, the USA, Canada, Serbia, and Colombia. 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, Dr. Bland has performed with several leading early music ensembles throughout North America including American Bach Soloists, Apollo’s Fire, Washington Bach Consort, Tempesta di Mare, Musica Angelica, Scaramella, Bach Collegium San Diego, Lyra Baroque Orchestra, 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, Les Arts Florissants, Camerata Øresund, Barokksolistene, Arte dei Suonatori, Göteborg Baroque, ensemble Paulus Barokk, Orkester Nord (previously known as Trondheim Barokk), Göttinger Barockorchester, TSO Tidlig (the early music band of the Trondheim Symphony Orchestra & Opera), Wrocław Baroque Ensemble, New Trinity Baroque, Nivalis Barokk, Höör Barock, Enghave Barok, BaroqueAros, Copenhagen Soloists, the Næstved Early Music Festival, Ensemble Hven, and several others.

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.

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.

“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.” (Edmonton Journal)

“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.” (Post-Bulletin)

“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.” (Custos Tidskrift)

[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.]

” ‘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.” (Politiken)

[‘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.]

“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!” (Viborg Stifts Folkeblad)

[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!]

“…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.” (Hans Krarup)

[…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.]

“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…” (Classical Voice of North Carolina)

“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.” (Grunion Gazette)

“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.” (The WholeNote)

“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.” (Greg Hettmansberger, writer for Madison Magazine)

“…trumpeter Justin Bland displayed dazzling virtuosity in the solo cantata [Jauchzet Gott in allen Landen]…”(Grunion Gazette)

“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.” (Culver City Observer)

“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.” (music critic Clarke Bustard)

“…Justin Blands store ekspertise bevidnedes glimrende i resten af koncerten.” (Fyens Stiftstidende – Fyns Amts Avis)

“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.” (Sirp) [Estonian Cultural Newspaper]

[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.]

“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.” (Sjællandske – Jens Due, Formand for Næstved Musikforening)

[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.]

“…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…” (Jakob Christensen-dalsgaard)

[… 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…]

“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.” (Edmonton Journal)

Regarded as one of his generation’s leading exponents on period horn playing and an ‘era-defining’ musician, Isaac’s work takes him around the globe; exploring repertoire and instruments from early 18th Century through to the present day. As a soloist, Isaac has starred with the London Chamber Orchestra, Australian New Goldberg Orchestra, Royal Welsh College Chamber Orchestra, Royal Academy of Music Baroque Soloists, Music for Awhile, appeared as a solo artist at the British Horn Society Festival Gala Concert, and has performed at Wigmore Hall, St Martin-in-the-Fields, Dora Stoutzker Hall, Melba Hall, Angela Burgess Recital Hall, as well as St. George’s Hanover Square amongst others. He was awarded Associate in Music, Australia at age 15 and became the first historical performer to win the Melbourne Conservatorium of Music Brass Concerto Competition (2016), RWCMD Concerto Competition (2018), and the British Horn Society Award: Solo Performance Artist (2018). Isaac collaborates regularly with renowned composers such as Dai Fujikura and Michael Finnissy, as well as emerging composers, to create works specifically for him, and has also performed in front of HRH Prince of Wales and Duchess of Cornwall at Llwynywermod, and as a featured soloist in the President’s Dinner hosted by Lord Rowe-Beddoe of Kilgetty.

However, his activities are not limited to historical performance. Formerly Co-Principal of The Melbourne Sinfonia, Isaac is a sought after orchestral musician, and has performed with numerous period and modern orchestras around the world. He is co-principal of Oxford Bach Soloists, Luminaire Orchestra, regular guest of Haydn Philharmonie, and is a casual musician with Australian Chamber Orchestra, Orchestra of the Age of Enlightenment, Le Cercle de l’Harmonie, MusicAeterna Orchestra, English Touring Opera Orchestra and Les Siècles. In addition, Isaac has appeared as guest principal with New London Orchestra, Bath Festival Orchestra, Brecon Baroque Festival Orchestra, as well as with The Hanover Band, I Fagiolini at the Ryedale Festival, Shadwell Ensemble at Nevill Holt Opera, Orchestra of the Age of Enlightenment at Glyndebourne, Irish Baroque Orchestra, Ex Cathedra, Ensemble Cordia, and Melbourne Symphony Orchestra amongst others. He is also a Natural Horn Grant Award Holder with the Theresia Orchestra for 2018-2020 and held the horn position for the 2019 Orchestra of the Age of Enlightenment Peter and Ann Law Experience Scheme. Passionate about promoting diversity and inclusivity in the classical music scene, Isaac has been working with Chineke! since 2020 and the Paraorchestra since 2021.

A keen chamber musician, Isaac has guested with the Australian National Academy of Music and delighted audiences at the Australian Festival of Chamber Music and the Norfolk Chamber Music Festival. He collaborates regularly with some of the world’s finest musicians, and is a founding member of The Five Musketeers, a wind quintet ‘comprised of outstanding international musicians’ on historical instruments, and the award-winning, Melbourne-based Maverick Brass Quintet. With the Maverick Brass Quintet, they were awarded 3rd Prize at the 14th Jeju International Brass Competition. In 2018, Isaac was on trial with Paris-based contemporary ensemble Le Concert Impromptu, regarded by the Washington Post as ‘the finest French wind quintet’, and in 2021, Isaac joined International Contemporary Ensemble for their Ensemble Evolution Summer Program. Isaac has also recorded with Prince Regent’s Band for their upcoming commercial disc and is a member of the newly re-formed Blackadder Baroque Brass.

Isaac completed his Bachelor of Music at The University of Melbourne in 2016, with Spiros Kessaris as his principal teacher. During his study, he was awarded the Donald William Thornton Bequest Scholarship (2014-2016), AG McMillen Arts Trust Scholarship - Music (2014), Frank Barzyk Brass Scholarship (2015), Athenaeum Club Instrumental Ensemble Prize (2016), Orloff Family Charitable Trust Scholarship (2016), Ormond Exhibitions Scholarship (2016), CG McWilliam bequest Scholarship (2016) and was the winner of MCM Chamber Music Competition (2016). He was also awarded the Welsford Smithers Memorial Travelling Scholarship in 2017, which supported his postgraduate study at the Royal Welsh College of Music and Drama. Isaac studied with Anneke Scott on the natural horn at Royal Welsh College of Music and Drama and completed a Master in Music (Historical Performance), where he was awarded The Gilbert Instrumental Prize for Overseas Students (2018), 2nd Prize of the Linda Mowat Prize (2018), and The May Edwards Prize for Music (2019). His study was also supporteRegarded as one of his generation’s leading exponents on period horn playing and an ‘era-defining’ musician, Isaac’s work takes him around the globe; exploring repertoire and instruments from early 18th Century through to the present day.

As a soloist, Isaac has starred with the London Chamber Orchestra, Australian New Goldberg Orchestra, Royal Welsh College Chamber Orchestra, Royal Academy of Music Baroque Soloists, Music for Awhile, appeared as a solo artist at the British Horn Society Festival Gala Concert, and has performed at Wigmore Hall, St Martin-in-the-Fields, Dora Stoutzker Hall, Melba Hall, Angela Burgess Recital Hall, as well as St. George’s Hanover Square amongst others. He was awarded Associate in Music, Australia at age 15 and became the first historical performer to win the Melbourne Conservatorium of Music Brass Concerto Competition (2016), RWCMD Concerto Competition (2018), and the British Horn Society Award: Solo Performance Artist (2018). Isaac collaborates regularly with renowned composers such as Dai Fujikura and Michael Finnissy, as well as emerging composers, to create works specifically for him, and has also performed in front of HRH Prince of Wales and Duchess of Cornwall at Llwynywermod, and as a featured soloist in the President’s Dinner hosted by Lord Rowe-Beddoe of Kilgetty.

However, his activities are not limited to historical performance. Formerly Co-Principal of The Melbourne Sinfonia, Isaac is a sought after orchestral musician, and has performed with numerous period and modern orchestras around the world. He is co-principal of Oxford Bach Soloists, Luminaire Orchestra, regular guest of Haydn Philharmonie, and is a casual musician with Australian Chamber Orchestra, Orchestra of the Age of Enlightenment, Le Cercle de l’Harmonie, MusicAeterna Orchestra, English Touring Opera Orchestra and Les Siècles. In addition, Isaac has appeared as guest principal with New London Orchestra, Bath Festival Orchestra, Brecon Baroque Festival Orchestra, as well as with The Hanover Band, I Fagiolini at the Ryedale Festival, Shadwell Ensemble at Nevill Holt Opera, Orchestra of the Age of Enlightenment at Glyndebourne, Irish Baroque Orchestra, Ex Cathedra, Ensemble Cordia, and Melbourne Symphony Orchestra amongst others. He is also a Natural Horn Grant Award Holder with the Theresia Orchestra for 2018-2020 and held the horn position for the 2019 Orchestra of the Age of Enlightenment Peter and Ann Law Experience Scheme. Passionate about promoting diversity and inclusivity in the classical music scene, Isaac has been working with Chineke! since 2020 and the Paraorchestra since 2021.

A keen chamber musician, Isaac has guested with the Australian National Academy of Music and delighted audiences at the Australian Festival of Chamber Music and the Norfolk Chamber Music Festival. He collaborates regularly with some of the world’s finest musicians, and is a founding member of The Five Musketeers, a wind quintet ‘comprised of outstanding international musicians’ on historical instruments, and the award-winning, Melbourne-based Maverick Brass Quintet. With the Maverick Brass Quintet, they were awarded 3rd Prize at the 14th Jeju International Brass Competition. In 2018, Isaac was on trial with Paris-based contemporary ensemble Le Concert Impromptu, regarded by the Washington Post as ‘the finest French wind quintet’, and in 2021, Isaac joined International Contemporary Ensemble for their Ensemble Evolution Summer Program. Isaac has also recorded with Prince Regent’s Band for their upcoming commercial disc and is a member of the newly re-formed Blackadder Baroque Brass.

Isaac completed his Bachelor of Music at The University of Melbourne in 2016, with Spiros Kessaris as his principal teacher. During his study, he was awarded the Donald William Thornton Bequest Scholarship (2014-2016), AG McMillen Arts Trust Scholarship - Music (2014), Frank Barzyk Brass Scholarship (2015), Athenaeum Club Instrumental Ensemble Prize (2016), Orloff Family Charitable Trust Scholarship (2016), Ormond Exhibitions Scholarship (2016), CG McWilliam bequest Scholarship (2016) and was the winner of MCM Chamber Music Competition (2016). He was also awarded the Welsford Smithers Memorial Travelling Scholarship in 2017, which supported his postgraduate study at the Royal Welsh College of Music and Drama. Isaac studied with Anneke Scott on the natural horn at Royal Welsh College of Music and Drama and completed a Master in Music (Historical Performance), where he was awarded The Gilbert Instrumental Prize for Overseas Students (2018), 2nd Prize of the Linda Mowat Prize (2018), and The May Edwards Prize for Music (2019). His study was also supported by a College Scholarship and The Clive and Sylvia Richards Charity. Isaac completed a Professional Diploma at the Royal Academy of Music in 2020, with Roger Montgomery as his principal teacher. During his time, he was supported by the San Martino Award, and became the first baroque hornist to win the Nancy Nuttall Early Music Prize. Isaac is currently pursuing a Doctorate in Music (PhD) at the Royal Academy of Music, supported by the Enlightenment Award and the Sir Reginald Thatcher Prize, under the supervision of Professor Neil Heyde.