Cantique de Joie
by Serge de Gastyne, facsimile of his manuscript from 1972
This is a new printing of the original manuscript on sturdy paper. 24 pages. As with any unrestored facsimile, there are spots where the notes are not as clear as engraved music, but the writing is mostly clear and readable. We provide an article on the composer and the music by Peter J Basch, past editor of Music, the AGO magazine, and Eastman classmate of the composer. Size of music is 9" x 12" and was printed by Progress Printing in New Jersey. $12.00.
This   Is   Newly  Printed   Music
Serge de GastyneSerge de Gastyne (1930-1992) was born is Paris, France, as the Count de Gastyne, Marquis de St Maur and Viscount de Montauriant. He expected to live the traditional life of French Nobility but World War II changed all that. Early in his teens, de Gastyne found himself fighting in the French underground. He emigrated to America at the end of the war and enrolled at the University of Portland, Oregon. Following graduation, he entered the US Air Force and was assigned to the Composing and Arranging staff of the Air Force Band in Washington DC. His musical compositions include symphonies, operas, and many pieces for band and voice. He won awards for his compositions from the American Society of Composers, Authors and Publishers (ASCAP). In 1968, he renounced his titles in France and became a citizen of the United States. After studies at Eastman, he received a Masters degree and a Doctorate in music from the University of Maryland. He taught music at Northern Virginia Community College while serving in the Air Force. After retirement, he moved to Gu1fport, Mississippi, where he lived for three years before his death on July 24, 1992. (from “Coda,” the newsletter of the Retired Air Force Bandleaders and Superindendants Society, Sep-Oct 1992)
Cantique de Joie, Opus 70, was dedicated to Peter Basch and performed by him at Notre Dame, Paris, on the V/153 Cavaillé-Coll (modified) in 1973. He wrote of his experience playing there: “The most exciting part for me was the entrance of the pedal triplets mid-way, like a pile driver pumping its way forward, a determined thrust and support to the upperwork that was crashing/exploding, aided by the dissonant chords cutting through the texture with a volcanic bombardment to the victorious final spread. And, that huge organ wrapped itself around me, like a tiger, and I will never, ever forget the entrance of the bombarde division when the console and tribune floor began to vibrate, making me think that I would bring down the entire balcony.” This piece requires a large organ. Very difficult.