IN DIR IST FREUDE

Composer: Giovanni G. Gastoldi

Giovanni Giacomo Gastoldi (Composer) Born: c1554 - Caravaggio, near Cremona, Italy Died: January 4, 1609 Giovanni Giacomo Gastoldi was an Italian composer. He is recorded for the first time at Mantua in 1572 as a sub-deacon at the Palatine Basilica of S Barbara. In the following year he was promoted to the position of deacon, a post which he held until at least 1574. At the end of 1575, shortly before being ordained, Gastoldi was granted a mansionaria in S Barbara. From September 1579 until August 1587 he taught counterpoint to the novices at the basilica; the records mention him as a singer for the first time in 1581. In 1582 Cardinal Carlo Borromeo requested that Gastoldi be allowed to enter his service in Milan; Duke Guglielmo Gonzaga… Go to person page >

Tune Information

Composer: Giovanni G. Gastoldi (1591)
Meter: Irregular
Incipit: 55431 55431 54321 221
Key: F Major

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

Instances

Instances (1 - 24 of 24)Text InfoTune InfoTextScoreFlexScoreAudioPage Scan
Ambassador Hymnal: for Lutheran worship #221
Christian Worship: a Lutheran hymnal #346Text
Church Hymnary (4th ed.) #67
Complete Anglican Hymns Old and New #341TextPage Scan
Evangelical Lutheran Hymnary #149Text
Evangelical Lutheran Worship #867TextPage Scan
Glaubenslieder #256
Glory to God: the Presbyterian Hymnal #242Text InfoFlexScoreAudio
Hymnal: A Worship Book #114
Lift Up Your Hearts: psalms, hymns, and spiritual songs #344TextFlexScoreAudioPage Scan
Lutheran Service Book #818Text
Lutheran Service Book #933
Lutheran Worship #442Text
Psalter Hymnal (Gray) #566Text InfoTune InfoTextScoreAudioPage Scan
Small Church Music #2099Audio
Small Church Music #2100Audio
The Covenant Hymnal: a worshipbook #302
The Cyber Hymnal #3010TextScoreAudio
The United Methodist Hymnal #169TextFlexScoreAudioPage Scan
Together in Song: Australian hymn book II #63
Together in Song: Australian hymn book II #200
Wonder, Love, and Praise: a supplement to the Hymnal 1982 #738
Worship (4th ed.) #499
Worship Supplement 2000 #761Text
Include 7 pre-1979 instances



Advertisements