IN DIR IST FREUDE

Composer: Giovanni G. Gastoldi

Giovanni G. Gastoldi (b. 1582; d. 1609) served as a deacon and singer in the chapel of the Gonzaga family in Mantua. Succeeding Giaches de Wert, he directed music in the Church of Santa Barbaras in Mantua from 1592 to 1608. Little is known about the rest of his life. Gastoldi composed a considerable body of court music, such as madrigals, and some church music, but he is best known for his Balletti, which influenced composers such as Monteverdi, Hassler, and Morley. Bert Polman Go to person page >

Tune Information

Title: IN DIR IST FREUDE
Composer: Giovanni G. Gastoldi (1591)
Meter: Irregular
Incipit: 55431 55431 54321
Key: F Major

Texts

In Thee is gladness

Day of delight and beauty unbounded

Refrain:
Day of delight and beauty unbounded,
tell the news, the Gospel spread!
Day of all wonder, day of all splendor,
tell Christ risen from the dead!

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Notes

IN DIR IST FREUDE is one of many balletti (dance-like songs) written by Giovanni G. Gastoldi, a priest and composer from Mantua, Italy. It was originally published in his Balleti a cinque voce (1591 ), where it was set to "Alieta vi.a, Amor ciinuita", which like so many balletti had a "fa-la-la" refrain.

Gastoldi served as a deacon and singer in the chapel of the Gonzaga family in Mantua. Succeeding Giaches de Wert, he directed music in the Church of Santa Barbaras in Mantua from 1592 to 1608. Little is known about the rest of his life. Gastoldi composed a considerable body of court music, such as madrigals, and some church music, but he is best known for his Balletti, which influenced composers such as Monteverdi, Hassler, and Morley.

The melody consists of short phrases formed into two sections, each repeated. The well-known organ prelude on this tune by Johann S. Bach (PHH 7) is cast into complex counterpoint (found in his Orgelbuchlein). But congregational singing and accompaniment should reflect the original character of lighthearted dance music. Sing in a swinging lively manner and strive for long musical phrases. Part singing is appropriate throughout, or try changing from unison to part singing (or vice versa) at the repeats of the A and B musical phrases. Maintain one pulse per measure.

--Psalter Hymnal Handbook

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