Michael Brant DeMaria | The Maiden of Stonehenge

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New Age: Celtic New Age World: Celtic Moods: Mood: Dreamy
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The Maiden of Stonehenge

by Michael Brant DeMaria

Genre: New Age: Celtic New Age
Release Date: 

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1. Lost Village
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5:50 $0.99
2. Mysterious Stranger
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4:43 $0.99
3. Enchanted Forest
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6:26 $0.99
4. Chantress
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4:01 $0.99
5. Moonlight Myst
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2:56 $0.99
6. Trowie Mor
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3:12 $0.99
7. Web of the Wyrd
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1:57 $0.99
8. Glasfar
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5:56 $0.99
9. Natura
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7:23 $0.99
10. Spring of Solace
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5:28 $0.99
11. Healing Heart
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7:38 $0.99
12. Anam Cara
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9:11 $0.99
13. Stonehenge
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6:34 $0.99
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ABOUT THIS ALBUM


Reviews


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Kathy Parsons

From MainlyPiano
Michael Brant DeMaria has been something of a phenomenon in the healing/new age music realm with four consecutive #1 albums on the Zone Music Reporter charts, three Grammy Nominations for Best New Age Album, and several Album of the Year awards in the Native American, Ambient, Relaxation/Meditation, and World Music categories. DeMaria’s newest release, "The Maiden of Stonehenge," takes his music in yet another direction. The music is the soundtrack to a play by the same name written by DeMaria and Stephen Lott, (who also co-wrote the the play "Siyotanka" several years ago). This time the play takes place in ancient Britain and tells the story of the coming of age of Teagan, a young, disfigured orphan girl abandoned and left to fend for herself. Her journey takes her across the mythic land where she meets wild and wondrous creatures while discovering the healing powers of nature, water, and her own voice. Two of the tracks feature 17-year-old Maggie Crain, who played the lead in the Pensacola Little Theatre production of the play in early 2012. DeMaria composed and performed all of the music, playing a variety of flutes and whistles, percussion, voice, piano, and synthesizers. As with all of Dr. DeMaria’s projects, the music is soothing, enchanting, and powerfully emotional.

“Lost Village” begins the journey, introducing Teagan and showing how callously she is treated by the people of her village. Guitar, flute, and synth washes create a mood of deep sadness and loss. A “Mysterious Stranger” comes to Teagan’s rescue, leading her to the Circle of Stones where she will be valued for her pure heart. The simple instrumentation of flute, guitar, and voices lifts the mood a bit, conveying hope. Teagan and her lifelong friend, the tree sprite, Yup, travel through the “Enchanted Forest,” meeting a hideous trowe, who, after being calmed by Teagan’s soul song, joins them and teaches them the healing power of music. “Moonlight Myst” is beautiful piece that includes piano, flute, and ethereal voices - mysterious yet very peaceful. “Web of the Wyrd” picks up the tempo considerably with percussion, flute, and chanting creating a sense of swirling excitement. “Glasfar” introduces The Green Man, part human and part plant, and his song is mysterious and dark yet very beautiful. Glasfar summons the nature spirits to join them in the ceremonial dance of Natura, the place of balance where all opposites find harmony. Hand percussion, flute, DeMaria’s voice, and synth instrumentation bring energy and excitement to this piece. “Spring of Solace” is magical and soothing - ambient and ethereal. “Healing Heart” is somewhat more melodic, but still very ethereal with piano, voices, guitar, and flute - a favorite. “Anam Cara” (soul friends) is hypnotic and bittersweet, as Teagan realizes that she must make the rest of her journey alone and says goodbye to her friends. I hope DeMaria will continue to use more piano in his music, as he has a magical touch! In the final track, Teagan reaches “Stonehenge” and discovers her true life’s purpose. Maggie Crain’s singing and chanting are poignant and touching as Teagan finds her inner strength and power.

Michael Brant DeMaria has created another masterpiece sure to win another series of awards. Very highly recommended!

Raj Manoharan (www.rajmanreviews.blogspot.com)

The RajMan Review
This CD is a soundtrack to Florida’s Pensacola Little Theatre production of the same name co-written and coproduced by psychologist and recording artist Michael Brant DeMaria.

The play revolves around a young girl in Ancient Britain who sets out in search of acceptance and a new start, embarking on a deeply personal journey of exploration and self-discovery that culminates at the iconic assemblage of mythical stone structures in England.

As befits the mystical story and setting, the music is appropriately dark and mysterious, its nocturnal enchantment truly coming alive during a nighttime drive on forest roads beneath a starry sky. Given that the play revolves around an excursion, the album is ideal as a soundtrack for traveling. DeMaria works from a sonic reservoir full of keyboards and synthesizers, flutes, percussion, and chants, resulting in a rich, thought-provoking, otherworldly sound. Maggie Crain, the lead actress from the play, also provides serene vocals on a couple of tracks.

Judging from the song titles, themes, and story strands explained in the liner notes, I imagine that the music on this CD brings the play to life like no standard soundtrack could. However, the album also stands on its own as a penetrating piece of art conducive to pause and reflection.

Michael Diamond (www.michaeldiamondmusic.com)

Review excerpt from Music and Media Focus
From the earthy ambience of his “Gaia” CD to the ethereal electronic explorations of his recent album “Bindu,” Michael Brant DeMaria never fails to surprise and delight. His newest release, “The Maiden of Stonehenge,” follows a change of direction and charts a course for the Celtic Isles. The CD is the soundtrack from a play by the same name produced by Michael and Stephen C. Lott. The album’s liner notes trace the story line for each song. As an instrumentalist, Michael is well known for his native flute and woodwind artistry. On this CD, he ventures into Celtic realms with the Low-D whistle and Hi-D whistle, as well as playing exotic wind instruments like the Fujara, Soljeflute, and Ultra Low G Drone flute. Michael also performs on various percussion, voice, piano, and synthesizers. Maggie Crain, a young vocalist with a hauntingly beautiful voice, provides a distinctive addition to Michael’s sound on two songs. She was also the lead in the play.

The curtain rises on “Lost Village,” in the days of yore. The music paints a misty portrait as a wistful flute melody hovers over a landscape of atmospheric synthesizer and a lute-like sound. Magic abounds in the “Enchanted Forest” where the sounds of nature blend with harp, flute, and synthesizers to cast their spell. Maggie Crain makes her entry on a song appropriately called “Chantress.”
Along with whispered words in an ancient tongue, her haunting voice evokes echoes of Enya. Michael’s free flowing piano melody sets the stage on “Moonlight Myst” as flute and airy choirs complete the picture. The energy shifts to an earthier vibe on “Trowie Mor” with deep drones, rattles, and drums. This feel extends into the next track, which kicks up the rhythm a notch. An interesting touch is the way Michael creates a kind of didgeridoo-like sound on a wooden flute. Having been a big fan of Michael’s “Bindu” CD, I particularly enjoyed track 10, “Spring Of Solace” which is a more celestial synthesizer soundscape that perfectly fits the song’s theme of spiritual rebirth. The album draws to a dramatic ending with “Stonehenge,” which is the second track spotlighting the sublime vocals of Maggie Crain.

This latest release, and the play it is a soundtrack for, comprise yet another chapter in Michael’s DeMaria’s ever-evolving creative expression. Listeners will experience an uplifting fantasy journey in the melodic world of “The Maiden Of Stonehenge.”

To read a full-length feature article on this CD, as well as others, please visit: www.michaeldiamondmusic.com

REVIEWS NEW AGE

Atrapa el tiempo y detenlo
Una inesperada y perfecta combinación de flauta nativa americana, piano, whistle, arpa y sintetizadores, que recrean el escenario místico y misterioso del círculo megalítico de Stonehenge del condado de Whiltshire. Del tres veces nominado a los premios Grammy, Michael Brant DeMaria, The Maiden of Stonehenge es un viaje mágico hacia civilizaciones pasadas, donde la magnificencia de sus construcciones son descritas por una sublime música capaz de trasladarnos al pasado, despertando el deseo de descubrir la verdad y el sentido de aquellas misteriosas piedras.

“Lost Village” es un comienzo apacible y reservado para el álbum. La mezcla de un canto penetrante de coro como acompañamiento, una guitarra que marca acordes rotos y la flauta de Michael son los únicos instrumentos que se necesitan para transportar al oyente a un lugar enigmático.

Manteniendo, prácticamente, la misma producción que la pieza anterior, Michael cambia los coros por sintetizadores, dejando el mismo lamento de guitarra y de flauta. Una pieza que nos mantiene sumergidos en el mismo mundo, pero esta vez, con un tono más amable y menos misterioso.

Por primera vez, la adición de sonidos ambientales como el canto de pájaros y el correr del agua hacen aparición, elementos con un fuerte poder de relajación. En contraposición con las piezas escuchadas anteriormente, es el arpa quien nos aplaca con su sonido cristalino y brillante, mientras la flauta suena de fondo. Una de mis piezas preferidas.

La voz más celta y hermosa del álbum, corre a cargo de Maggie Crain, quien ofrece su peculiar y bello instrumento a la música de DeMaria. “Chantress” es una de las mejores composiciones que encontramos en The Maiden of Stonehenge, donde la música celta hace realmente aparición en este álbum. Un pieza hipnótica, hermosa, un conjunto de voces que nos elevará.

Como una canción de cuna, “Moonlight Myst” es una cálida y agradable composición, donde por primera vez, el piano hace aparición y es el instrumento estrella. Campanillas, piano, flauta y synth pad son los complementos perfectos para apaciguar nuestros nervios e invitarnos a un descanso.

Más incertidumbre e incógnitas en The Maiden of Stonehenge. “Trowie Mor” está compuesta para mantener al oyente en un profundo trance, donde la flauta y el penetrante sintetizador como fondo, consiguen doblegar a los sentidos.

Una de las piezas más rítmicas del álbum es “Web of the Wyrd” donde una percusión étnica, flauta y cantos más bien suspirados, dan vida a una música rápida, como si de una oración a los Dioses se tratase. Una composición que marca la diferencia en The Maiden of Stonehenge.

Dos de las mejores composiciones del álbum son “Glasfar” y “Natura”, unas músicas perfectas para el desarrollo de ejercicios de meditación, relajación o simplemente, alcanzar la inspiración. Ambas se componen de sintetizadores sutiles, el canto rumoroso de Michael y el sonido ambiental como acompañamiento. Es un verdadero placer dejarse llevar por estas melodías.

“Spring of Solace”. El sonido de la primera junto a sintetizadores cristalinos dan vida a una música pacífica, muy electrónica en comparación con los tracks anteriores, pero colmado de una paz sublime. Me gusta esta pieza!.

Se crea un punto de inflexión en The Maiden of Stonehenge, donde Michael cambia su flauta por los teclados y piano como instrumentos predominantes, así es el caso de “Healing Heart”, algo diferente en cuanto a producción, pero conservando la misma emoción.

“Anam Cara” parece extraída de los álbumes de la saga Solitudes. Michael nos ofrece unos instantes en los que un piano brillante y relajante se une al canto de los pájaros, a la naturaleza. Unos minutos de armonía, donde la música es de un gran alcance para el oyente.

Como final para el CD, “Stonehenge”, la pieza más interesante del álbum. Entre sintetizadores profundos, sonidos brillantes, arpa y más, Maggie Crain realiza un canto sorprendente, en algunos casos, sobrecogedor, pero sin duda, es una de las composiciones más bellas de The Maiden of Stonehenge.


Atrapa el tiempo y detenlo, esto mismo consigue The Maiden of Stonehenge, el último trabajo del compositor Michael Brant DeMaria. Michael tiene el don de jugar con las emociones, de conseguir que su música no pase inadvertida. Apoyándose en instrumentos étnicos y diferentes sintetizadores, DeMaria nos ofrece más de una hora de abstracción, de fantasía, de relajación. The Maiden of Stonehenge es un álbum perfecto para aliviar nuestro estrés mientras visualizamos lo que pudo ser el origen de Stonehnege. Muy recomendable!.

reviewsnewage.com
09/03/13