With 5 GRAMMY(R) nominations, 2 SAMA nominations, 20 Billboard hits, numerous film, TV, and game soundtracks (including World of Warcraft) and dozens of albums in release, David Arkenstone has established himself as one of the most diverse, prolific and established contemporary instrumental musicians of our time. You’ve heard his music on everything from NBC sports such as The Kentucky Derby, The British Open, and Premier League Soccer to high-end commercials. This world renowned multi-instrumentalist captivates audiences with distinctive tracks that inspire the imagination. A musical storyteller, David is passionate about taking his listeners on a journey by creating sonic tapestries that evoke every emotion.

On June 10th David Arkenstone released MUSIC INSPIRED BY MIDDLE EARTH, VOL II (QDV), a Lord of the Rings-inspired journey of 14 original compositions that showcase Arkenstone’s impressive compositional range from gentle orchestrals to soothing soundscapes and epic cinematic anthems. Currently holding the #1 Bestseller spot on Amazon for new releases in its category, this album comes almost exactly 20 years after Music Inspired by Middle Earth, Vol. I, a bestseller in Arkenstone’s vast discography. Appealing to J.R.R. Tolkien fans and cinematic music fans of all ages, the album is available in CD, digital download and streaming formats worldwide, including Bandcamp, with vinyl expected in the coming months.

Legend has it that scholar-philologist J.R.R. Tolkien wrote both The Hobbit and the Lord of the Rings based on the bedtime stories he told to his children. With the creation of the moving pictures, the series has reached millions more worldwide. In the course of creating Middle Earth, Tolkien invented two unique new languages, complete with grammar, vocabulary, and rules of pronunciation, and he provides us all forever with a guided excursion through lands where most things and all inhabitants are called by imaginative names.

What you will hear on David Arkenstone’s new album Music Inspired by Middle Earth, Volume II, is a full orchestra (strings, woodwinds, and percussion, with harp, flute, and lonely whistle) with choirs: lilting hopeful illuminating female choirs and shadowy low pitched scary male choirs. You should know the story by now, a hobbit and his faithful companions must risk everything and battle against the forces of evil to save Middle Earth. In the mythopoeic legendarium Middle Earth, long ago, twenty rings existed: three for elves, seven for dwarves, nine for men, and one made by the dark Lord Sauron, in Mordor, which would rule all the others. There is a vague sense of providence that seems to guide Frodo on the first adventure, and an “evil power” that is present. There is also a strong thread throughout the work of language, its sound, and its relationship to peoples and places, along with moralisation from descriptions of landscape.

The speech of the Elves is portrayed as a noble and beautiful voice from a race of heroes and poets, is rhythmic and euphonic; the speech of the Orcs, revealed to be a grim and brutalized tribe of killers and terrorists, their tongue is harsh and guttural; the language of the Ents, a peaceful ancient tree-like race, is lovely, but to non-arborphiles, who are often known for their impatience, it takes a very long time to say anything in it.

The fate of Middle Earth rests in the one ring, which was forged by the dark lord Sauron and lost for centuries. One is drawn into Middle Earth via the Shire, that region inhabited by those aforementioned hobbits, good natured, sturdy little beings who like to tend their gardens, invent reasons to eat many wee meals, and tell long stories over tea, ale, or anytime. Tolkien’s introduction to his fantasy realm is gradual, thorough (it includes maps), and increasingly amusing.

An alliance of elves and humans resisted Sauron’s ring and fought against Mordor. They won the battle and the ring fell to Isildur, the son of the King of Gondor, but just as he was about to destroy the ring in Mount Doom, he changed his mind and held on to it for himself. Later he was killed, and the ring fell to the bottom of the sea. Eventually the one ring falls into the hands of the hobbit named Frodo Baggins, who reluctantly accepts the task of destroying the ring in the fires of Mount Doom where it was forged.

5-time Grammy nominee David Arkenstone is a gifted musical storyteller, passionate about taking listeners on a journey using a full orchestra, including strings (featuring violin soloist Luanne Homzy), woodwinds, percussion, harp, flute, and whistle, with choirs. There are lilting and illuminating female choirs and there are shadowy low pitched scary male choirs. There are ethereal vocals from Jillian Aversa that shine above the cinematic sonic tapestries, and unusual textures to enhance the sense of place that comes with a soundtrack for moving pictures.

“I envision a place where I would like to go, or an adventure I would like to take, and let my imagination run free,” says Arkenstone. “I’ve gotten countless messages from listeners who love to take these journeys with me. I’m sometimes surprised by how powerfully people respond to my music.”

The longing to visit distant lands and discover the unknown, to wander again is evoked in the opening track, “The Shadow of the Past” (4:24). There is danger and uncertainty, sad memories and unfinished business. This is the spark that causes some to leave the comfort of home and go into the mystery of the wild world. There are thoughtful sounds of the harp, flute, strings, woodwinds, and ghostly vocals.

The festive “The Green Dragon” (3:07) is where Bilbo and the dwarves celebrate, dancing away the night before heading off on their expedition to slay the evil dragon Smaug and reclaim the lost fortune of the dwarves. Feet are stamping, legs are flying and smiles are everywhere, the pace is fast and with a festive feeling, featuring Celtic whistles and drums creating a rousing dancing lilt, whirling about.

Harp blessed rainbows and glowing voices haunt strings that push like water, heading to the sea. The old river still flows slowly towards forever, and the daughter of the river calls from the distance. Time is slow and memories are deep, “Daughter of the River” (4:40) is paradoxically both slow and majestic while staying sunny and uplifting.

Spreading like dawn in the distance, the glow increases to show a homely place of sanctuary and a magical Elvish otherworld, Imladris, also called Rivendell.

According to the detailed historic notes provided by Tolkien, Imladris is a Sindarin term which means ‘deep valley of the cleft,’ from imlad (‘glen, deep valley’) and rist (‘cleft’) or riss (‘ravine’). “The Light of Imladris” (4:47), confident, calm and assured strings and harps and flutes, evokes a visit to “The Last Homely House East of the Sea.”

According to the legends which can be found in the wiki One Wiki to Rule Them All (OWtRTA), link given at the end of this article, in Imladris, there was a large hall with a dais and several tables for feasting. Another hall, the Hall of Fire, had a fire in it year-round with carven pillars on either side of the hearth; it was used for singing and storytelling on high days, but stood empty otherwise, and people would come there alone to think and ponder. The eastern side of the house had a porch at which Frodo Baggins found his friends once he had awakened, and was where the Council of Elrond was held.

The valley of Imladris, within which the town of Rivendell is situated, was possibly based upon the landscape of Lauterbrunnen, Switzerland. Tolkien was said to have journeyed to this region; his original painting of Rivendell is significantly similar to the Lauterbrunnen itself.

Darkness covers activities in the mysterious and dangerous world of Moria, there is a slow introduction that wakes up and the drama begins. Male creatures sing and bark, unworldly voices mixed with metallic clanging and banging, and booming drums lead the orchestra on into the dangerous fire pits, “Servant of the Secret Fire” (4:19) features darker percussion with horns and strings, a chanting choir, imagine dark deeds and raging fire at night, energetic, slow and powerful.

In the city of Lothlorien the Elves sing, with their harps and flutes. This is a sound painting of the place where ancient Elven magic reigns. Lothlorien is the chief city of the elves, at the center of the whole woodland. The name Caras Galadhon means “Fortress of Trees”: from the Silvan caras (“fortress”) and galadhon (“of trees”). “Caras Galadhon” (4:29) portrays twilight, with mystery and hidden secrets, harp and strings, a choir with wee bells and flute.

According to the legends which can be found in OWtRTA, Caras Galadhon was circular in shape and about three thousand feet from east to west. It was surrounded by a wall of green earth and a deep fosse, or moat. On the western border, a long stone road outside the fosse ran for many dozens of miles, also surrounding the city. The city could be accessed through a set of great gates which faced southwest. The city was a host of Mallorn trees where the Elves lived in flets atop the trees. Located in the city’s center, atop the largest Mallorn in the city, was the flet of Celeborn and Galadriel and the Chamber of Celeborn. Caras Galadhon may also be translated as “Fortress of Galadhon.” Galadhon may be referred to Celeborn’s father, Galadhon.

Branches rattle in the wind, horns and strings speak of creatures who dwell in the leafy depths while shakers and clicking sticks keep a respectful tempo, slow and cautious, sometimes you can hear a brave lonely little whistle in the vast darkness, “Fanghorn Forest” (4:41). The name Fangorn means “Treebeard,” from the Sindarin fang (“beard”) and orn (“tree”). The Fangorn Forest is a forest beneath the southeastern Misty Mountains, known for being the last habitation of the Ents and Huorns. Fangorn forest was the oldest part of Treebeard’s realm, and to here the Ents retreated.

Now traveling on the river, the hobbit regrets having the ring but remembers Gandalf’s words about his destiny. Sustained paddles keep the small boats ever forward, the bend in the river reveals ancient towering columns of stone. The Pillars of the Kings guard the flowing water here, woodwinds and cautious strings nearby and not close, given voice first by a plaintive harp and woodwind joined by a discussion between woodwinds followed by the strings, flowing past the worn but mighty monument. “The Great River – The Argonath” (4:15), also known as the Gates of Argonath or Pillars of Kings, is a great monument of Gondor that marks the ancient northern border of Gondor.

According to the legends which can be found in OWtRTA, the monument was comprised of two enormous statues carved in the likenesses of Isildur and Anárion, standing upon either side of the River Anduin at the northern entrance to Nen Hithoel. It marked the northern border of Gondor, and nearby to the south were previous outposts, Amon Hen and Amon Lhaw. Each of the two carved stone figures bore a crown and a helm, with an axe in its right hand and its left hand raised in a gesture of warning to Gondor’s enemies. They marked the ancient northern border of Gondor.

Though the date of their construction is not entirely certain, the historical context of the Argonath is well known. Gondor’s influence at that time extended a long way up the Vales of Anduin, but during those early days an influx of Northmen were beginning to establish themselves in the lands northward and eastward of Nen Hithoel. Trying to accommodate these people, Gondor consolidated its border at the Emyn Muil, marking that point on the Great River by placing a great warning stone on either side of the stream, no stranger was permitted to pass downriver without permission.

Built on great pedestals founded in the river, each gigantic statue was carved with a stern expression on his face and a crowned helm on his head. The left hand of each stone King is held up in a gesture of warning, while the right carries an axe. At the time of the book’s depiction, the Fellowship of the Ring passed between the statues where they have guarded the river for something like 1,800 years, and though they naturally show signs of weathering, they still remain intact. The statues cast their baleful glare down on travelers as they pass between the stones of the Argonath.

The sound of riding a horse, building on the canter and wide open landscape, the brass and strings invite and eventually elevate a chorus of hammered dulcimers with pennywhistle. Behold “Shadowfax and the White Rider” (4:09), Shadowfax is capable of comprehending human speech and is said to run faster than the wind, Shadowfax’s coat is described as silvery-grey in daylight, and hardly visible at night. The pace of the rider is immediately established, bold and powerful, miles melt into the distance, the riders glide over the land, always nimble and capable of great sustained speeds.

Shadowfax was a descendant of Felaróf, and a chieftain of the race of long-lived Mearas, the greatest horses of Middle-earth. Shadowfax was capable of comprehending human speech and was said to run faster than the wind. Shadowfax was too wild to be tamed by the Rohirrim, who gave him to the wizard Gandalf the White.

Gandalf the Grey first rode Shadowfax during the events preceding the Council of Elrond, after his escape from being imprisoned at Orthanc. Gandalf chose Shadowfax, tamed him, and used the great steed’s speed to cross the vast wilderness between Rohan and the Shire in only six days. He dismissed the horse shortly before arriving in Rivendell and Shadowfax returned to Rohan.

He was next seen when Gandalf (now the White) called him when he, Gimli, Aragorn and Legolas needed horses to travel through Rohan. Legolas instantly recognises the race of the horse, exclaiming that it is “of the Mearas”. While for the most part, Gimli rode with Legolas upon a grey horse named Arod. Know this all from the link given below, OWtRTA.

The river Anduluin flows to the confluence of the stream Morgulduin in the easternmost provincial land of Gondor. Slow and curious here, exploring “The Forbidden Pool” (4:32), woodwinds and harp slow and sad, cautious and darker, looking into the dark pool.

The Orcs are on their way to do battle in the West, bowed cymbals symbolize caution and fear, strings low and deep, from mist comes the marching beat. Dark and dangerous, Mordor is the home of Orcs. Metallic objects ring and clash, voices chant and grumble, the orchestra harbors a scary outpouring of doom. “Minas Morgul” (4:29) where horns talk of danger and the marchers get ever closer, the pace soon slows down and there is a mumbling male grumpy choir. Minas Morgul was located in the upland valley known as the Morgul Vale at the feet of the Mountains of Shadow, once a fortress of Gondor, called Minas Ithil, the Tower of the Moon.

As the easternmost fortification in the kingdom of Gondor, Minas Ithil guarded the eastern borders of the realm and oversaw the capital Osgiliath, offering protection from the forces of Mordor during the early part of the Third Age. As Gondor’s power weakened, it was then taken over by the forces of Mordor, and used as a base to attack Gondor. In the process, the once vital location decayed into the dark fortress and was renamed as a result.

According to the legends (OWtRTA), Minas Morgul was located in the upland valley known as the Morgul Vale at the feet of the Mountains of Shadow. It overlooked the region of Ithilien and controlled the only passes through the mountains that led into Mordor, the Morgul Pass and the Pass of Cirith Ungol.

In its heyday, Minas Ithil was described as a beautiful sight, with light filling its inner courts with silver moonlight and causing its walls to gleam silver and white. It was a walled city of white marble built on a high shelf of rock. Within the walls, there were white houses and a tall tower. The walls and the tower had many windows, and the top of the tower revolved slowly back and forth. The Morgul-road ran from Osgiliath on the Anduin through Ithilien to the city and crossed the Mountains of Shadow into Mordor via the pass.

In fashion Minas Morgul seems to have been much like Minas Tirith, only corrupted. Originally the city’s walls glowed with pale moonlight, but under the control of the Ringwraiths it became a city of horror, where the minds of living men would run to madness if they remained too long. The topmost course of the tower revolved slowly, and the walls were illuminated by a pale luminous sickly glow. The city had a strange watchfulness about it, and intruders to Morgul Vale were always noted. Most who approached the city could not stand to set eyes on it, and felt watched.

It is said (OWtRTA) that Gondor means ‘Land of Stone,’ from Sindarin, gond (stone) + (n)dor (land), most likely given to it because of the White Mountains (Ered Nimrais) and other mountain ranges in the land. The White Tree of Gondor is the symbol of Middle Earth, reminding all that eternity lies just beyond birth and death. Experience strings and symphonic gatherings which convey glory, sadness and rebirth, “The White Tree of Gondor” (4:16) is a song of light and hope, a choir opens, joined by sad and persisting strings, confident but also cautious.

The White Tree of Gondor, originally planted in Minas Tirith by Isildur, was a symbol and coat of arms of Gondor. This iconic tree was tall and spacious, a tree of graceful form, white thin unwrinkled bark over white wood. In spring it bore numerous white flowers, but few of these ever came to fruition; what shape the fruit was is never described, and it was not known to be edible. The leaves were laurel-like, dark green above and bright silver beneath.

The image depicted within the coat of arms was fashioned in the image of Telperion, elder of the Two Trees of Valinor, originally. This image was given to the Elves of Tirion in Valinor and named Galathilion. The first White Tree of Gondor came from a fruit that Isildur stole from Nimloth the Fair, before it was destroyed. Isildur brought the sapling to Middle-earth and eventually planted it in Minas Ithil before his house. But when Sauron returned to Middle-earth, he attacked and captured Minas Ithil, destroying the White Tree. Isildur escaped, again taking a sapling with him.

“The Houses of Healing” (4:28) is a beautifully rendered lonely meditation on the preciousness of memory, reflecting the sense of mysticism and magic, and drawing us into a meditation on the limits of solitude and fortitude.The tune is a quiet reflection towards the end of the epic adventure story, sad and sweet with harp and flute and the full orchestra. Featuring violin soloist Luanne Homzy and vocalist Jillian Aversa, the tune is a quiet reflection towards the end of the epic adventure story, sad and sweet with harp and flute and the full orchestra.

The story is settling now, the journey concludes with choir, English horn, harp and, in the last moments, the massive power of the full orchestra. Quiet moments after the excitement of the road and the adventures found there are blended, the travelers are probably caught up in reflection and cautiously accept the new sight of old places, noting both the changes and the timeless aspects of their homeland. Setting out on an epic adventure is often rewarded by “The Returning” (5:22), slowly the destination looms, sad and slow but the mood grows brighter, taking turns with the emerging remembrances as the journey’s end draws closer.

Music Inspired by Middle Earth Volume II is a richly cinematic homage to the exciting and captivating worlds and communities of Tolkien’s legendarium Middle Earth, offering an immersive symphonic vista of the landscapes and inhabitants, as well as the dramatic adventures of the Hobbits, Elves, Men, Orcs and other magical beings who persist through these times, and continue to provide imaginative nourishment for all who dream of magic and adventure.

The One Wiki to Rule Them All (OWtRTA) https://lotr.fandom.com/wiki/

Official Website: https://davidarkenstone.com/
Official Arkenfan Community: https://go.davidarkenstone.com/arkenfans-offer-a
Bandcamp: https://davidarkenstone.bandcamp.com/album/music-inspired-by-middle-earth-vol-ll
Bandsintown: https://www.bandsintown.com/a/65223-david-arkenstone?came_from=257
Instagram: https://www.instagram.com/david.arkenstone/?hl=en
Facebook: https://www.facebook.com/davidarkenstone
Twitter: https://twitter.com/davidarkenstone

Tracks
1 The Shadow of the Past 4:24
2 The Green Dragon 3:07
3 Daughter of the River 4:40
4 The Light of Imladris 4:47
5 Servant of the Secret Fire 4:19
6 Caras Galadhon 4:29
7 Fanghorn Forest 4:42
8 The Great River – The Argonath 4:16
9 Shadowfax and the White Rider 4:10
10 The Forbidden Pool 4:33
11 Minas Morgul 4:38
12 The White Tree of Gondor 4:17
13 The Houses of Healing 4:28
14 The Returning 5:23