Gary Stadler returns after completing his highly acclaimed Fairy-Trilogy, with new music that radiantly sparkles with enchantment, revealing the essence of his evocative musical style. On this new release, Gary places the focus on the purity of his beautiful piano sound, He artfully combines that with other acoustic instruments such as classical guitar, Cello, Vocal Choirs as well as the lovely Harp artistry of Lisa Lynne, The result is another understated masterpiece of dreamy celtic-influenced magic. It is no wonder Gary's music has created a dedicated base of fans; there is a simple beauty in his music which comforts the heart and stirs the soul.
Listen To Samples
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3. Winged Ones
8. Faerie's Kiss
Release date: August 15, 2003
All Music Guide
Gary's talents for symphonic wizardry have made him one of the new millennium's forerunners in New Age music.
— MacKenzie Wilson
Music Design In Review
By this point, most fans of ethereal instrumental and new age music should be familiar with the whimsical lullabies of Gary Stadler. Inspired by the enchanting realm of the faeries, Stadler is joined by harpist/composer Lisa Lynne and weaves piano-based soundscapes that are heavy on celestial wistfulness and otherworldly beauty. REFLECTIONS OF FAERIE is aptly names, as this entry returns to Stadlers more acoustic and meditative roots. The albums is completely instrumental and relies more on natural instrumentation like piano, harp and guitar than electronic atmospherics as he has in the past. This is an album that would fit in well with your end-of-the-day cool down rituals; lie down on the couch, press play and let the faeries take you away to a land of eternal peace.
This beautiful new album by Stadler radiates with enchantment in these lovely melodies of the Faerie Realm. Gary plays the piano with soft guitar, cello, vocal choirs and a lovely harp. There is a special magic and simple beauty in this music, which touches the heart and stirs the soul. Wonderful for all types of healing techniques, meditation, massage or for the special time when you take loving care of self. We have more music by Stadler, come and listen his other magical albums.
Wind and Wire
On this, his fourth "faerie" music recording, Gary Stadler pulls back from the reliance on electronic keyboards of his earlier releases and emphasizes
the sounds of acoustic instruments, not just at his own hands but also those
of guest artists Lisa Lynne on Celtic harp, Dr. Harold Grandstaff Moses on
viola, Bruce Lawrence on guitar, and Sandy Schieffer and Tiffany Snow on
background vocals. Stadler himself plays grand piano, guitar, cello, string
bass, acoustic bass guitar, and some sparse synthesizers. The result is
music that is a tad warmer and more genteel than his previous three
recordings, although all of those were also fine releases. Reflections of
Faerie has less of an ethereal quality and more of a renaissance/early
music/classical feel at times. Of course, the songs are still wonderfully
soft and peaceful pieces that invite repose and reflection, a stilling of
the heart and quieting of the soul.
You'll hear these qualities right away on the first track, "Spinneee," which
opens with Jon Mark-like lush keyboards and delicate harp, with piano
eventually taking over the lead on a flowing melodic refrain. "Lullaby" is
even softer and more romantic, with an unhurried pace to the piano and harp
and a certain sadness to the music. Piano is more predominant than harp (and
there sounds like some guitar mixed in there too). In fact, piano is frequently the showcased instrument. Stadler displays a masterful light touch with good command of phrasing and nice balance between upper and lower
The overall mood of the CD is placid, calm, restrained, yet filled with a
simple beauty and an unassuming charm. As I mentioned earlier, there is less
of a "magical" texture to the music, and I think it's mostly due to the lack
of overtly electronic effects. I guess you could call this "faerie"
unplugged - if you wanted to be glib about it. However, I'm inclined to
instead judge this to be a more refined musical statement, not so much
because the music is softer, but because by stripping away the ethereal
aspect of the faerie kingdom, Stadler has revealed a more earthbound majesty
and subtle sense of awe. The calm inherent in these gentle melodies and the
peace that permeates them should offer stress relief in abundance to souls
wearied by this modern world.
— Bill Binkelman
Steve Ryals, Syndicated Music Columnist
Reflections of Faerie is Gary Stadler's fourth release on Sequoia Records. Over the past eight years, Stadler's music has entranced literally tens of thousands of listeners, transporting them to a time a place when the Faerie flew on translucent wings in the moon's tender embrace. Somehow, Stadler's compositions give us a sense of this place. His gentle, ephemeral piano dances with Lisa Lynne's harp, melody entwined with heart in paeans to a time of innocence, a time before hearts were so easily broken. Reflections of Faerie, then, is great magic, its healing light pouring out the speakers like the sound of sunshine.
Since Stadler's first release, Fairy of the Woods, which he did entirely on synthesizers, his work has steadily shifted more and more towards acoustic instrumentation. Now, with Reflections of Faerie, he used almost no synthesizers at all, preferring to work with other musicians on music that comes ever more from the heart. Stadler plays grand piano, cello, harp, bass and more. In addition to Lisa Lynne on Celtic harp, Bruce Lawrence appears on guitar, Dr. Harold Grandstaff Moses on viola, and Sandy Schieffer and Tiffany Snow on background vocals. A truly exquisite album, Reflections of Faerie will be a welcome addition for meditation, massage and traveling to the heart of the world.
Sprit of Change Magazine
A sequel to Gary Stadler's three previous "fairy" discs, this lovely project differs in more than the spelling of its title. Reflecting the composer/artist's transition from all-synthesizer accompaniment to mostly acoustic instruments, the album's eight tracks gently bathe the listener in New Age Music loveliness. Stadler supplies piano, cello, acoustic bass guitar, string bass, some harp, choir vocals, and the occasional electric keyboard and 12-string guitar riff. Lisa Lynne plays Celtic harp and writes one of the pieces, while other musicians supply viola, guitar and background choirs. Everything is sweetened and homogenized as though it were the sonic equivalent of an air-brushed cover of pastel painted dolphins and naked goddesses, but the results have a most gentle and pleasing effect on the listener. It would be folly to suggest that Stadler's music embodies the sublimity of Faure' or other classical masters. That is not his goal. This is a quintessential New Age impressionism, lulling and soothing music that is distinguished less by the originality and poignancy of its themes than its overall gestalt. Perfect for massage, spa settings, or late night candlelight, it rarely calls attention to itself. Rather, Reflections of Faerie is content to hint at what lies beyond the veil.
— Jason Victor Bellecci-Serinus
With Reflections of Faerie, Gary Stadler returns after completing his highly acclaimed Fairy-Trilogy (Fairy of the Woods, Fairy NightSongs, Fairy HeartMagic). This new music radiantly sparkles with enchantment, revealing the pure essence of Stadler's evocative piano style. This album artfully combines piano with other acoustic instruments such as classical guitar, cello, vocal choirs, as well as the lovely harp artistry of Lisa Lynne. The result is another understated masterpiece of dreamy Celtic-influenced magic, which comforts the heart and stirs the soul.
Gary Stadler is a composer best known for his Celtic-themed New Age music, but he's also a pianist, songwriter, and producer. He masterfully combines rare instruments from across the globe with synthesizers, vocals, and intricate orchestration creating an unparalleled take on ancient and mystical mythology. This San Diego native knew he wanted to be a musician since high school. His first forays into music were appropriately ethereal numbers, "Dream Spell" and "Awakening," written for a play called "The Goblin's Bride," which was based on the myth of the faerie. These would be the inspiration for his next six albums.
Though he initially played with female vocalists and Celtic harp collaborators, his 2003 album, Reflections of the Faerie, is a solo record that focuses on Stadler's own skills as a multi-instrumentalist. Strong, lovely piano melodies are the backbone of this record, with gentle bells, the occasional synthesizer, luxurious harp, and Spanish guitar accents adding texture and movement. Though Stadler is musically unafraid to explore the darker, more serious side of faerie mythology, the album begins on a lighthearted note. Opening track "Spinneee" creates the musical equivalent of a cool, lush forest where anything is possible.
Songs get deeper as the album develops. "Reflections" is a beautiful cinematic number, with a slow build and somber pace that manages to tell a story and impress a sense of importance without words. Scales on the harp create ripples of sound like impressions made on a glassy water surface from the falling of a gentle leaf. Synthesizers, piano, and violin play a beautifully mournful tune while hints of choral voices create a sense of collective thought. The album closes with the lovely "Faerie's Kiss," which has unhurried piano tinklings that call to mind the delicate and light steps of a ballet dancer. As the melody unfolds, images of grace and feminine beauty come to mind as the album elegantly bows to a close.
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