There are quite a number
of New Age music recordings* available, probably thousands.
Of these, there are a few great classics worthy of the attention
of critical listeners: Laughton’s Harps of the Ancient Temples,
one of the very first (1958); Ray Lynch’s Deep Breakfast
(1966); Paul Horn’s Inside the Great Pyramid (1977);
the Gordon brothers Garden of Serenity series (1992 et.
seq.); Kitaro’s Tunhuang (1983). This disk deserves comparison
with these; track 9 from this disk is now my favorite meditation
music. It is my loss that I only became aware of it 11 years
after it appeared. This disk can be included here only because
it was many years after the release of it that Mr. Earnest became
well known locally as a serious classical composer. I suspect
in the ensuing years when he becomes better known around the
world, this disk will also become better known and more generally
available.
As to the sound of the
music, it is difficult to describe apart from its genre and
the titles of the tracks. This disk uses mostly electronic sounds,
but some acoustic instruments are heard, perhaps synthesized,
perhaps recorded live and processed. “Celebration,” for instance,
contains an episode reminiscent of walking by near a group of
African musicians out on the plain, as well as wind sounds and
the ubiquitous distant chorus sounds. The point is how well
does this composer create his mood by balancing the dramatic
sound-picture, now moving it forward, now letting it glow. Mr.
Earnest in his single entry into the genre does this with supreme
skill.
It is to my great gain
that I, by coincidence, happen to live near the composer, in
fact only four miles from the Idaho farm he grew up on. While
I would like to say we are friends, the relationship is hardly
an equal one; I am more a groupie, at least at this point as
I eagerly become acquainted with his oeuvre while attending
his premiers several times a year. I would suggest you remember
his name, for you will some day find it unavoidably thrust upon
you if you continue to explore modern classical music and search
out the very best.
Paul Shoemaker
*from this genre I exclude
electronic pieces by established composers (e.g. Philip Glass),
electronic arrangements of symphonic repertoire works (e.g. Tomita),
symphonic works where there are electronic sounds added into the
orchestra (e.g. Edgard Varèse, Alan Hovhaness, Einojuhani Rautavaara),
electronic compositions of symphonic length, structure, and intent
(e.g. W. Carlos, Pierre Henry). I also exclude works by established
rock and pop musicians (e.g. David Bowie, Jefferson Airplane/Starship)
but I have included recordings consisting mostly or entirely of
acoustic instrument sounds.
