Clavicymbal. See Cembalo.
Clavier, literally Keyboard. The German name for all keyboard instruments, such as the clavichord, harpsichord, spinet, instrument, &c. The term is also applied to both the manuals and pedals of the organ.
Clavierbüchlein, little clavier book for Bach’s son W. Friedemann, when nine years old, in 1720. A diagram shows the keys and principal ornaments, and one of the pieces is figured and called “Applicatio, in nomine Jesu.” Some of the pieces are composed by the boy himself. Eleven of the preludes of the Wohltemperirte clavier first appeared in this book; some of the pieces are by other composers as J. C. Richter and G. H. Stölzel of Gotha, and there are many of Bach’s own fugues.
Clavierbüchlein, vor Anna Magdalena Bach in 1720 and 1725. See p. [57].
Clavierübung, clavier practice. A work in four parts, consisting of preludes, allemands, the Italian concerto, the French overture, choralvorspiele, &c., intended, as the name implies, for educational purposes. The work includes the well-known prelude and fugue for organ in E flat, Peters 242, and the air in G with thirty variations written for Goldberg.
College of Instrumental Musicians of Upper and Lower Saxony. The full text is given by Spitta, vol. i. p. 145, et seq. The statutes enacted that no member was to settle in any town where another member was already settled; no member was to take lower fees than his predecessor; no member was to boast that he played on a superior instrument to others; offices were only to be obtained by proper examination; no member was to sing immoral songs; every member must conduct himself with propriety in social “attendances,” and to see that his assistants did the same; no member was to bring his art to disrepute by playing on bagpipes, hurdy-gurdies, triangles, &c.
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.
Consistory. The authorities of an important church, somewhat analogous to the Dean and Chapter of an English cathedral.