No bad language was to be allowed, and all low company to be avoided; apprentices must, before binding, produce credentials of respectability, and must serve for five years with industry and constant prayer. After an apprentice has served his five years he is to serve another three as an “assistant,” except when he marries his master’s daughter, in which case he shall only serve one year as assistant. In case of dissension arising, the matter must be brought before six master-musicians, who shall decide it. No man is to seek to oust an old master; but if a man becomes too old to do his work, an assistant shall be appointed who shall receive half the salary. Every master is to see that his assistants are properly paid for services rendered. In order that the art of music may not be brought into contempt by inadequate performance, no man shall be allowed to keep more than three apprentices at one time (for this would compel him to employ properly qualified assistants to carry out concerted music). A master neglecting to teach his apprentices could be punished; and an apprentice running away could never become a member of the college. However great the number of members, no man was to be refused membership who was found, after due trial, to be properly qualified. Questions of evil morals arising among members were to be decided by a board of elders.
~Concertmeister~, the leader of an orchestra who ranks immediately after the conductor. In early times he was also the conductor of purely instrumental music, while the capellmeister conducted whenever voices were employed. The title is also bestowed as a mark of respect on musicians of eminence who are not connected with an orchestra.
~Concerto.~ A term applied to both vocal and instrumental concerted music. Several of Bach’s Cantatas are thus named; thus “Ein Herz das seinen Jesum lebend weiss” is entitled “Concerto à quattro voci, 2 oboi, 2 violini, viola e continuo di J. S. Bach.” Concertos for instruments were in several movements, but usually three. There was sometimes a single solo instrument, but more frequently there were several. The fine concerto in G in two movements is for three violins, three violas, three violoncellos and bass without a solo instrument. The concertos of Handel and Vivaldi, &c., are orchestral compositions in several movements with or without wind instruments. The Italian Concerto is a piece in three movements for clavecin without accompaniment.