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Communication in History

This updated eighth edition provides a thorough and engaging

history of communication and media through a collection of
essential, field-defining essays.
The collection reveals how media has been influential in both
maintaining social order and enabling social change. Contributions
from a wide range of voices offer instructors the opportunity to
customize their courses while challenging students to build upon
their own knowledge and skill sets. From stone age symbols and
early writing to the internet and social media, readers are introduced
to an expansive, intellectually enlivening study of the relationship
between human history and communication media. New case
studies explore the Black Press, the impact of photography on
journalism, gender and civil rights discourses in the media, and the
effects of algorithmic data on modern social media platforms.
This book can be used as a core text or supplemental reader for
courses in communication history, communication theory, and
introductory courses in communication and media studies.

Peter Urquhart is Associate Professor in the Communication

Studies Department at Wilfrid Laurier University, Canada.

Paul Heyer was Professor Emeritus in the Communication Studies

Department at Wilfrid Laurier University, Canada.
Communication in History

Stone Age Symbols to Social Media

Eighth Edition

Edited by
Peter Urquhart and Paul Heyer
Designed cover image: SandyMossPhotography / © Getty Images
Eighth edition published 2024
by Routledge
605 Third Avenue, New York, NY 10158
and by Routledge
4 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa
business
© 2024 selection and editorial matter, Peter Urquhart and Paul
Heyer; individual chapters, the contributors
The right of Peter Urquhart and Paul Heyer to be identified as the
authors of the editorial material, and of the authors for their
individual chapters, has been asserted in accordance with sections
77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or
reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks

or registered trademarks and are used only for identification and
explanation without intent to infringe.
Seventh edition published by Routledge 2018
First edition (1991), Longman, USA.

ISBN: 978-1-032-16829-6 (hbk)

ISBN: 978-1-032-16175-4 (pbk)
ISBN: 978-1-003-25046-3 (ebk)
DOI: 10.4324/9781003250463
Typeset in Univers
by codeMantra
Contents

Preface
Acknowledgments

Part One
The Media of Early Civilization

1 The Earliest Precursor of Writing

Denise Schmandt-Besserat

2 Media in Ancient Empires

Harold Innis

3 Civilization Without Writing—The Incas and the Quipu

Marcia Ascher and Robert Ascher

4 The Origins of Writing

Andrew Robinson

Part Two
The Tradition of Western Literacy

5 The Greek Legacy

Eric Havelock

6 Writing and the Alphabet Effect

 Robert K. Logan

7 Writing Restructures Consciousness

Walter Ong

Part Three
The Print Revolution

8 Paper and Block Printing—From China to Europe

Thomas F. Carter

9 The Invention of Printing

Lewis Mumford

10 Early Modern Literacies

Harvey J. Graff

11 Sensationalism and News

Mitchell Stephens

Part Four
Electricity Creates the Wired World

12 Time, Space, and the Telegraph

James W. Carey

13 Anti-Lynching Imagery as Visual Protest in the 1890s Black

Press
Amanda Frisken

14 The Telephone Takes Command

Claude S. Fischer

15 Dream Worlds of Consumption

Rosalynd Williams
16 Wireless World
Stephen Kern

Part Five
Image and Sound

17 Visual Reportage I
Thierry Gervais

18 Visual Reportage II
Richard Meyer

19 Inscribing Sound
Lisa Gitelman

20 The Making of the Phonograph

Jonathan Sterne

21 Early Motion Pictures

Daniel Czitrom

22 “Talkies” and Stardom

Michael Slowick

Part Six
Broadcasting

23 Early Radio
Susan J. Douglas

24 The Golden Age of Programming

Christopher Sterling and John M. Kittross

25 Race on Radio
Barbara Savage
26 Television Begins
William Boddy

27 Making Room for TV

Lynn Spigel

28 From Turmoil to Tranquility

Gary Edgerton

Part Seven
New Media and Old in the Digital Age

29 How Media Became New

Lev Manovich

30 Popularizing the Internet

Janet Abbate

31 The World Wide Web

Jay David Bolter and Richard Grusin

32 A Cultural History of Web 2.0

Alice E. Marwick

33 Social Media Retweets History

Tom Standage

34 How Algorithms Rule Online

Eiri Elvestad and Angela Phillips

Discussion Questions
Suggested Readings
Credits
Index
Preface

Why does a new communication medium—the alphabet, printing,

broadcasting, the internet—come into being? What impact does it
have on the media that precede it? How does a new medium exert
influence on the everyday life of society? And how, in turn, can
society and culture influence media practices?
These are some of the questions Communication in History has
been trying to address for nearly thirty years. During that time
numerous students and colleagues told the book’s originators, David
Crowley and Paul Heyer, how the subject area has become
increasingly vital to their interests and professional engagement.
With Crowley long retired and Heyer having died in 2017, and with
thanks to the encouragement and the support of Routledge, I (Peter
Urquhart) have put together this new eighth edition. It features
some excellent recent scholarship that historically contextualizes
issues such as “big data” and social media, and contains new entries
on media history concerning issues of race, gender and audiences
for the press, cinema and radio. The goal of this new edition,
however, has changed little from previous versions: to invite
students to consider the development of human behavior and social
experience as a response to the uses and consequences of
communication media in the wider context of human history. The
text lays out a journey that will help reveal how media have been
influential both in maintaining social order and as powerful agents of
change.
 The issues raised by the role of media in history are broadly
based—too broad, we think, to be easily encompassed in a single-
author textbook. From the beginning, Crowley and Heyer felt the
preferred way to go was with an anthology featuring an exemplary
list of contributors whose research interests relate directly to, or
complement, one another. As with past editions, all our contributors
try to tell us something about the characteristics and the human
consequences of various media and their development. It should not
be surprising that the contributors come from a variety of disciplines.
Communication history, or media history, as it is sometimes called,
although most at home in the disciplines of communication and
cultural studies, draws from and has relevance to a variety of fields
that include architecture, archeology, anthropology, history,
journalism, literary criticism, political science and sociology.

New to This Edition

New entries can be found by authors such as Amanda Frisken,
Barbara Savage and Michael Slowick.
We have divided the eighth edition into seven parts, beginning
with prehistory and ending with the contemporary digital age.
Students will often find that contributors in a given section will cite
each other’s work as well as the work of an author in another part of
the book. As a result, we think you will find considerable unity within
and among the seven parts of the book.
To further help students appreciate these connections, and to
afford an overview of our subject, we have provided an introduction
to each of the seven parts. The purpose of these introductions is to
provide a rationale for the essays that follow and an explanation of
key concepts and transitions, as well as to cite background material
that might help the reader better appreciate the individual essays. At
the end of each part, we have provided several study and discussion
questions, and the end of the book contains a short list of
suggestions for further reading.
Acknowledgments

As Paul Heyer wrote in 2017:

A special acknowledgment must go to David Crowley, my

(Heyer) co-editor for all previous editions of this textbook,
beginning over twenty-five years ago. This is quite a shelf life,
and it attests to a burgeoning interest in the subject area. As
colleagues at McGill University those many years ago, David and
I shared research and teaching interests in the field of
communication history. We searched for an appropriate
introductory text suitable for our students, but to no avail. Yet
there existed a variety of insightful studies across a number of
disciplines that covered specific aspects of the field. David
suggested, and I agreed, that rather than hope for, or
undertake ourselves, an authored work presenting an overview
of the field, a well-conceived anthology could do better justice
to the subject matter. Thus was Communication in History born.

Although David is no longer my co-editor, the mantle has,

appropriately enough, been handed down to one of his former
students, my colleague, Peter Urquhart. David’s presence,
however, remains, given the perceptive advice he has provided
to us (as well as some of his insightful observations that remain
in some of the chapter introductions) in updating a work that,
much to our delight, has occasionally been referred to as a
classic.
In the same spirit, I need offer a special thanks to my friend and
colleague Paul Heyer who died just as the previous edition was
going to press in 2017. Paul was enormously generous in inviting me
to join him in updating that previous edition, and working with him
on it was a genuine pleasure. His enthusiasm for—and vast
knowledge about—communication history was a joy to behold. I
hope readers will find that this new edition carries on in the
impressive tradition that Crowley and Heyer began all those years
ago.
Finally, we wish to mention a few of the many individuals who—
and this is a list that started with the first edition nearly thirty years
ago—have provided encouragement, and often assistance, for this
ongoing project. Our thanks go to Alison Beale, Anouk Belanger,
David Black, Rhianon Bury, Bill Buxton, Ella Chmielewska, Ian Chunn,
Hart Cohen, Lon Dubinski, Derrick de Kerckhove, Jane Dickson, Elin
Edwards, Bruce Ferguson, Jonathan Finn, Jib Fowles, Kathleen
Galarneau, Robert Graham, Lynne Hissey, Sylvia Hoang, Richard
Herbert Howe, Jesse Hunter, Iwona Irwin-Zarecka, Liss Jeffrey,
James B. Johnston, Stephen Kern, Bill Leiss, Rowly Lorimer, Oya
Majlesi, Shauna McCabe, David Mitchell, Ira Nayman, Jean Ogilvie,
John Rowlandson, Lise Ouimet, Hillary Pimlot, Firoozeh Radjei,
Gertrude Robinson, Wik Rowland, Leslie Shade, Brian Shoesmith, Ed
Slopek, Steve Stack, Jonathan Sterne, Graham Thompson, Phil
Vitone, the late James Wong, Darren Wershler, Gaius Gilbert, Lisa
Sumner, Martin Dowding, Andrew Herman, Barbara Jenkins, Erin
Macleod, Jonathan Finn, Jade Miller, Ira Wagman, and our most
recent student research assistants, Nicola Urquhart and Josephine
Bhamani.
For their assistance, we would like to thank the National Archives
of Canada, Art History and Communication Studies at McGill
University, the Department of Communication Studies at Wilfrid
Laurier University, the McLuhan Program in Culture and Technology
at the University of Toronto, and the InterNet Group.
Finally, enormous thanks are due to Sean Daly at Routledge,
whose generosity, helpfulness, know-how and patience apparently
knows no bounds.
Part One
The Media of Early Civilization
DOI: 10.4324/9781003250463-1

Introduction
Whenever the term “media” or “communications” is mentioned,
many of us envision the pervasive technology of today’s world.
Students engaged in media studies may range further back
historically and think of the newspaper over the past 200 years, the
invention of the printing press in the fifteenth century, or perhaps
the origins of the alphabet in ancient Greece. Communication media,
however, are older—much older. In this part we will look at key
aspects of their early development, beginning with the symbolic use
of material culture in the Old Stone Age.
What was the first communication medium? This question may be
impossible to answer scientifically; however, it is not impossible to
imagine. Almost as soon as our prehistoric ancestors made tools of
wood, bone, and stone to help them physically adapt to a changing
environment, they probably made “tools for thought” as well.
Perhaps the earliest device of this kind was a simple stick, notched
to indicate the number of deer in a nearby herd, or some rocks or
logs arranged to mark the importance of a given territory. What was
important was the process. Humankind enlarged its sphere of
communication (the process) by creating communications (the
means or media of communication).
Communication is an exchange of information and messages. It is
an activity. About 100,000 years ago, our early ancestors
communicated through nonverbal gestures and an evolving system
of spoken language. As their world became increasingly complex,
they needed more than just the shared memory of the group to
recall important things. They needed what is sometimes called an
extrasomatic memory, a memory outside of the body. This led to the
development of media to store and retrieve the growing volume of
information. The microchip of today is one such medium and a direct
descendant of our hypothetical notched stick.
The later prehistoric period, from about 50,000 to 10,000 b.c.
(standard usage now is b.c.e.—Before the Common Era—although
most essays in our book use the older designation), has yielded
impressive evidence of both communication and communications.
The most striking examples are the exquisite cave paintings found in
Southwestern Europe. Photographs of these images, such as those
in many art history books, do not do them justice. The paintings are
not positioned for accessible viewing—in ways familiar to us—
through vertical and horizontal alignment on a flat plane, and are
comparable to the artwork and modes of perception of Eskimos
(now referred to as Inuit) studied in more recent times. Perhaps the
closest we can come to experiencing the original impact of these
works, short of touring the (mostly closed to the public) caves with a
flickering oil lamp, is through Werner Herzog’s breathtaking 2010
film Cave of Forgotten Dreams, which was originally shot and
illuminated using a special three-dimensional process.
Eventually, communications moved beyond the image and object
making of the Old Stone Age (Paleolithic) to a more settled and less
nomadic life. Hunting gave way to agriculture, which gave rise to the
New Stone Age (Neolithic). With it came a new form of
communication: writing. The beginnings of this transformation are
outlined in the first essay by Denise Schmandt-Besserat. She bases
her argument not on the discovery of new archeological remains, but
through a reinterpretation of previous finds in a new way. Her
analysis covers a period from about 10,000 to 4000 b.c. and covers
the early rise of the great writing-dependent Near Eastern
civilizations in Mesopotamia and Egypt.
 Schmandt-Besserat provides compelling evidence for her
contention that prior to the actual emergence of writing, several Old
World societies in the Near East were recording economic
transactions through the use of fired clay tokens one to three
centimeters in size. Readers will be shown some intriguing
archeological detective work as she comments on traditional
interpretations of these artifacts as charms, toys, or tools and then
suggests an alternative communications view. She notes that many
of the tokens resemble characters known as ideograms, which are
conventionalized signs that do not look like what they represent (a
character that looks like what it represents is known as a pictogram).
Ideograms became the basis of the world’s first full-fledged writing
system, Sumerian, which arose in 3500 b.c. Thus, if one accepts her
hypothesis, the tokens were an abstract form of three-dimensional
writing in response to social and economic changes necessitating a
more complex way of life: the birth of civilization.
Our next excerpt, by Harold Innis, deals with what happened in
the realm of communications and culture after the establishment of
empires in Egypt and Mesopotamia. Innis (1894–1952) was a
Canadian political economist turned communication theorist. His
ideas about the importance of communication, acquired when he
studied at the University of Chicago, surfaced periodically in his early
economic writings. However, it was the works he produced shortly
before his death, Empire and Communications (1950) and The Bias
of Communication (1951), that marked his emergence as our first
media historian. More than any other twentieth-century figure, Innis
argued that this field merits disciplinary or sub-disciplinary status.
Although he explored almost every facet of the
communications/history question, the bulk of his project deals with
the role of media in the organization of ancient empires and early
Western civilization.
Innis elaborated his history of communication around a series of
core concepts, several of which are used in the excerpt we have
included. Perhaps the most significant one pertains to time and
space. Innis argued that each of the major Old World civilizations
had a specific cultural orientation that was temporal or spatial. This
orientation derived in part from the nature and use of the dominant
medium it employed. For example, stone in ancient Egypt was a
durable “time-biased” medium, favoring a centralized absolute
government of divine kingship. This bias was further evident in the
use of hieroglyphic writing to produce astonishingly accurate
calendars, around which the agricultural cycle pivoted. With the
coming of papyrus, a light portable “space-biased” medium suitable
for administration over distance, the orientation of Egypt changed. A
priestly class expanded its power as the acquisition of new territories
gave rise to an extended empire needing an administrative
bureaucracy versed in the new communications.
Our next selection, by Marcia Ascher and Robert Ascher, deals
with an area of history largely ignored until recently by media history
—ancient New World civilizations. The Aschers focus on the Incas of
ancient Peru, which, unlike other New World civilizations—the Maya
and Aztec, for example—did not have writing. But isn’t writing
essential to civilization and a complex state level of organization?
Ascher and Ascher debunk this prevalent misconception. They
convincingly show that it is not writing per se that allows for
civilization, but some medium for the keeping of records that can
function in an efficient and comprehensive manner. The quipu served
this purpose among the Incas of ancient Peru. It was a series of
cords using different lengths, thicknesses, and colors that could be
knotted and braided. Each of these elements constituted
information, the kind used to record crop production, taxation, a
census, and other kinds of information essential to the bureaucratic
maintenance of an expanding empire.
An intriguing point relevant to the essay by the Aschers, and the
one preceding it by Innis, is that the quipu, a light, portable
medium, was suitable for administration over distance and therefore
is a classic example of Innis’s notion of a space-biased medium.
Although Innis did not consider the Incas, Ascher and Ascher were
influenced by his work, and their research extends this useful
concept.
 In our final selection, Andrew Robinson outlines some of the
issues, many still unresolved, in the relationship between earlier
systems of three-dimensional accounting, such as the tokens studied
by Schmandt-Besserat, and the later development of two-
dimensional systems of ideograms and alphabets that characterize
the evolution of writing worldwide. He also explores the controversy
about the relationship between written and spoken language
systems and the ways in which the linkage between written and
spoken forms (logography and phonography) varies widely from
language to language. Robinson goes on to raise the question of
how globalization today might push the demand for new forms of
communication (he points to the growing use of pictograms in public
spaces) that are independent of both spoken and written languages.
Here he shows how some of the principles used in ancient scripts,
such as hieroglyphs, are still with us in everything from road signs to
computer keyboards.
This quick rip through tens of thousands of years demonstrates
that communication history—once relegated to the margins of the
history of human civilization—should instead be seen as central to
understandings of the evolution of societies, at least as central as,
and intricately connected to, political, social, economic, and social
histories. Hopefully it will become clear to students why the insights
provided by archeologists, anthropologists, and others who study the
ancient world are crucial to understanding, and directly related to,
the unfolding history of communication, right to the present
moment.
Chapter 1
The Earliest Precursor of Writing
Denise Schmandt-Besserat
DOI: 10.4324/9781003250463-2

Denise Schmandt-Besserat is an archaeologist working at the

University of Texas at Austin. Her work on early symbol systems
leading to the origin of writing is currently influencing students in a
wide range of disciplines.

It is the nature of archaeological research to deal with data and their

interpretation . . . . I use the facts as well as the hypotheses I have
presented on the token system to reflect more broadly on the significance
of tokens with respect to communication, social structures, and cognitive
skills.
[This reading] deals with the place of tokens among other prehistoric
symbolic systems. After presenting relevant aspects of symbolism from
the Paleolithic to the Neolithic period, I will analyze what the tokens owed
to their antecedents, how they revolutionized the use of symbols, and
how they presaged writing.

Symbols and Signs

Symbols are things whose special meaning allows us to conceive, express,
and communicate ideas. In our society, for example, black is the symbol
of death, the star-spangled banner stands for the United States of
America, and the cross for Christianity.
Signs are a subcategory of symbols. Like symbols, signs are things that
convey meaning, but they differ in carrying narrow, precise, and
unambiguous information. Compare, for example, the color black, the
symbol standing for death, with the sign “1.” Black is a symbol loaded
with a deep but diffuse significance, whereas “1” is a sign that stands
unequivocally for the number “one.” Symbols and signs are used
differently: symbols help us to conceive and reflect on ideas, whereas
signs are communication devices bound to action.1
Because the use of symbols is a characteristic of human behavior, it is
by definition as old as humankind itself.2 From the beginnings of
humanity, symbols have encapsulated the knowledge, experience, and
beliefs of all people. Humans, from the beginning, have also
communicated by signs. Symbols and signs, therefore, are a major key to
the understanding of cultures.
Symbols, however, are ephemeral and, as a rule, do not survive the
societies that create them. For one thing, the meaning they carry is
arbitrary. For instance, the color black, which evokes death in our culture,
may just as well stand for life in another. It is a fundamental characteristic
of symbols that their meaning cannot be perceived either by the senses or
by logic but can only be learned from those who use them.3 As a
consequence, when a culture vanishes, the symbols left behind become
enigmatic, for there is no longer anyone initiated into their significance.
Thus, not only are symbolic relics from prehistoric societies extremely few,
but those that are extant usually cannot be interpreted.

Lower and Middle Paleolithic Symbols

Although humans were present in the Near East starting in the Lower
Paleolithic period, as early as 600,000 years ago, no symbols have been
preserved from these remote times. The first archaeological material
attesting to the use of symbols in the Near East belongs to the epoch of
Neanderthal humans, the Middle Paleolithic period, as late as 60,000 to
25,000 b.c. The data are threefold. First, pieces of ocher were recovered
in the cave of Qafzeh, Israel.4 There is, of course, no way of knowing
what ocher was used for at the time, but the red pigment suggests a
symbolic rather than a functional purpose, and some hypothesize it may
have been used for body painting. The second set of evidence consists of
funerary paraphernalia, such as flowers or antlers deposited in burial sites
—for example, at Shanidar about 60,000 b.c.5 and at Qafzeh.6 Although
we shall never know the significance that ocher, flowers, and antlers may
have had for Neanderthal humans, it is generally assumed that the red
pigment and the funerary deposits were symbols carrying a magico-
religious connotation. Accordingly, some of the earliest evidence of the
use of symbols in the Near East suggests a ritual function.
A third category of artifacts is bone fragments engraved with a series
of notches usually arranged in a parallel fashion, such as were recovered
in the cave of Kebara.7 These incised bones are important for the present
study because they constitute the earliest known examples of manmade
symbols in the Near East. Whereas at Shanidar Neanderthal humans
conferred a meaning on pigments and flowers readily available in nature,
the occupants of Kebara began modifying materials in order to translate
ideas.

Upper Paleolithic and Mesolithic Symbols

The same symbolic tradition continues in the Upper Paleolithic and the
Mesolithic. The use of ocher is frequently attested,8 and notched bones
are part of the assemblages at Hayonim in Israel, ca. 28,000 b.c.,9 as well
as at Jiita10 and Ksar Akil in Lebanon, ca. 15,000–12,000 b.c. A bone awl
from Ksar Akil measures about 10 cm in length and bears some 170
incisions grouped along the shaft into four separate columns . . . . Such
artifacts are still present at Hayonim,11 at other Natufian sites of the
Levant,12 and even as far away as the Negev around 10,000 b.c.13 At the
same time, sites from the Levant to Iraq produced pebbles and various
limestone and bone implements engraved with parallel lines.14
A new category of iconic symbols is manifested in western Asia during
the course of the Upper Paleolithic. At Hayonim, ca. 28,000 b.c., these
symbols take the shape of stone slabs bearing fine lines that suggest a
horse.15 The cave of Beldibi, Turkey, dated about 15,000 to 12,000 b.c.,
produced images of a bull and a deer, traced with a flint on the cave
wall16 and on pebbles.17
The function of the Paleolithic and Mesolithic incised bones and animal
representations can only be hypothesized. André Leroi-Gourhan viewed
the iconic representations as symbols of magico-religious significance.
According to him, the animal images referred to the numinous, each
species representing one manifestation of a complex cosmology.18 Leroi-
Gourhan argued that these animal figures were symbols loaded with a
deep meaning, serving as instruments of thought and making it possible
to grasp the abstract concepts of a cosmology. On the other hand, from
the early days of archaeology, the notched bones have been interpreted
as tallies, each notch representing one item of which to keep track.19
According to a recent theory of Alexander Marshack, the artifacts were
lunar calendars, each incised line recording one sighting of the moon.20
The linear markings have been consistently viewed as referring to discrete
and concrete entities. I suggest, therefore, that we consider the notches
as signs promoting the accumulation of knowledge for specific ends. If
these hypotheses are correct, the tallies constitute evidence that signs
started being used in the Near East at least by the Middle Paleolithic
period; and if the evidence reflects the facts, then the use of signs to
communicate factual information followed the use of symbols in ritual.
If indeed the incised bones are tallies, the Paleolithic and Mesolithic
linear markings of Kebara, Hayonim, Ksar Akil, and Jiita are of
considerable interest because they represent the first attempt at storing
and communicating concrete information in the Near East. This first step
in “data processing” signified two remarkable contributions. First, the
tallies departed from the use of ritual symbols by dealing with concrete
data. They translated perceptible physical phenomena, such as the
successive phases of the moon, rather than evoking intangible aspects of
a cosmology. Second, the notched signs abstracted data in several ways:

1. They translated concrete information into abstract markings.

2. They removed the data from their context. For example, the sighting
of the moon was abstracted from any simultaneous events, such as
atmospheric or social conditions.
3. They separated the knowledge from the knower, presenting data, as
we are told by Walter J. Ong21 and Marshall McLuhan, in a “cold” and
static visual form, rather than in the “hot” and flexible oral medium,
that involves voice modulation and body gestures.22

As a result, the graphic signs of Ksar Akil and Jiita not only brought about
a new way of recording, handling, and communicating data, but
generated an unprecedented objectivity in dealing with information.
The tallies remained, however, a rudimentary device. For one thing, the
notches were unspecific and could suggest an unlimited field of
interpretations. Marshack postulates that the signs stood for phases of the
moon; others have hypothesized that they served to keep a tally of animal
kills. But there is no way to verify their meaning. In fact, the notched
bones were limited to recording quantitative information concerning
things known by the tallier but remaining enigmatic to anyone else. These
quantities were entered according to the basic principle of one-to-one
correspondence, which consisted of matching each unit of the group to be
tallied with one notch. Moreover, because tallies used a single kind of
marking—namely, notches—they could handle only one type of data at a
time. One bone could keep track of one item, but a second bone was
necessary in order to keep track of a second set of data. Therefore, this
simple method of tallies would be adequate only in communities where
just a few obvious items were being recorded, as seems to have been the
case in the Upper Paleolithic period.
It is certainly possible, of course, that the bone tallies were not the
only devices for storing information before 10,000 b.c. It is even likely
that, as in many preliterate societies, people during the Paleolithic and
Mesolithic periods used pebbles, twigs, or grains for counting. If this was
so, then these counters shared the same inadequacies as tallies. First of
all, pebbles, like the notches along the shaft of a bone, lacked the
capacity to indicate what item was being counted. Only the individual who
made the markings or piled up a number of pebbles knew what things
were being recorded. Second, because they were nonspecific, pebbles
and twigs did not allow one to keep track of more than a single category
at a time. A pile of pebbles, or one bone, could keep track of a sequence
of days, but another pile and another bone would be necessary to handle
quantities of, say, animals. Third and finally, it may be presumed that the
loose counters were used, like tallies, in the cumbersome method of one-
to-one correspondence—each pebble or each twig standing for one unit,
with no possibility of expressing abstract numbers. One day, for example,
was represented by one pebble, two days by two pebbles, and so on. The
loose counters facilitated data manipulation because they were easier to
handle. On the other hand, the notched bones were more efficient for
accumulating and preserving data, because the notches were permanent
and could not be disassembled.

Neolithic Symbols
The first agricultural communities of the Near East carried on the age-old
symbolic traditions. Early farmers placed antlers in house foundations and
painted their floors with pigments.23 They also performed burial rituals
that sometimes involved red ocher.24 At that time, too, human and animal
forms were translated into clay figurines.25 Finally, notched bones were
still part of village assemblages.26 However, the practice of agriculture
generated new symbols—no doubt as a result of a new economy and a
new way of life. The new symbols were different in form and content from
anything used previously. These were the clay tokens modeled in
distinctive shapes, each representing a precise quantity of a product.

A New Form
The primary singularity of the tokens was that they were entirely
manmade. In contrast to pebbles, twigs, or grains put to a secondary use
for counting, and in contrast to tallies, which communicated meaning by
slightly altering a bone, tokens were artifacts created in specific shapes,
such as cones, spheres, disks, cylinders, and tetrahedrons, from an
amorphous clay mass for the unique purpose of communication and
record keeping.
The tokens were an entirely new medium for conveying information.
Here the conceptual leap was to endow each token shape, such as the
cone, sphere, or disk, with a specific meaning. Consequently, unlike
markings on tallies that had an infinite number of possible interpretations,
each clay token was itself a distinct sign with a single, discrete, and
unequivocal significance. While tallies were meaningless out of context,
tokens could always be understood by anyone initiated into the system.
The tokens, therefore, presaged pictography; each token stood for a
single concept. Like the later Sumerian pictographs, the tokens were
“concept signs.”27
The greatest novelty of the new medium, however, was that it created
a system. There was not just one type of token carrying a discrete
meaning but an entire repertory of interrelated types of tokens, each with
a corresponding discrete meaning. For example, besides the cone, which
stood for a small measure of grain, the sphere represented a large
measure of grain, the ovoid stood for a jar of oil, and so on. The system
made it feasible to simultaneously manipulate information concerning
different categories of items, resulting in a complexity of data processing
never reached previously. It thus became possible to store with precision
unlimited quantities of information concerning an infinite number of goods
without the risk of depending on human memory. Furthermore, the
system was open; that is to say, new signs were added when necessary
by creating new token shapes, and the ever-increasing repertory
constantly pushed the device to new frontiers of complexity.
The token system was, in fact, the first code—the earliest system of
signs used for transmitting information. First of all, the repertory of
shapes was systematized; that is to say, all the various tokens were
systematically repeated in order to carry the same meaning. A sphere, for
example, always signified a particular measure of grain. Second, it may be
presumed that tokens were used according to a rudimentary syntax. It is
likely, for example, that the counters were lined up on the accountant’s
table in a hierarchical order, starting on the right with tokens representing
the largest units. That was how the Sumerians organized signs on a
tablet, and it is logical to assume that the procedure was inherited from
former usage in handling tokens. The fact that the tokens were
systematized also had a great impact on their expansion. The token
system was transmitted as a full-fledged code from community to
community, ultimately spreading throughout the entire Near East, with
each token form preserving the same meaning.
The token system owed little to the Paleolithic and Mesolithic periods.
The choice of material for manufacturing the counters was a novelty; clay
had been ignored by hunters and gatherers. Clay proved particularly
advantageous since it is found abundantly in nature and is easy to work.
Its remarkable plasticity when wet made it possible for villagers to create,
with no tools and no great skill, an indefinite number of forms that
became permanent when dried in the sun or baked in an open fire or
oven.
The format of movable units was probably one of the very few features
that tokens adopted from the past, perhaps having been inspired by a
former usage of counting with pebbles, shells, twigs, or grains. Such a
format enhanced data manipulation, since the small tokens could be
arranged and rearranged at will into groups of any composition and size,
while notches engraved on tallies were fixed and irreversible.
Otherwise, the various token shapes have no known Paleolithic or
Mesolithic antecedents. But the counters have the merit of bringing
together as a set, for the first time, each of the basic geometric shapes,
such as the sphere, cone, cylinder, tetrahedron, triangle, quadrangle, and
cube (the latter surprisingly rarely).28 It is difficult to evaluate which of
these forms were inspired by everyday life commodities and which were
fully abstract. Among the latter, the cylinders and lenticular disks, which
represented, alternatively, one unit and a group of animals, are visibly
arbitrary. Others, such as the cone and ovoid, which stand respectively for
a measure of grain and a unit of oil, were probably iconic, depicting a
small cup and a pointed jar. Still other tokens, in the shape of animal
heads, were naturalistic depictions.

A New Content
The token system was also unique in the kind of information it conveyed.
Whereas Paleolithic iconic art probably evoked cosmological figures, and
whereas Paleolithic or Mesolithic tallies may have counted time, the
tokens dealt with economic data; each token stood for one precise
amount of a commodity. As noted above, the cone and the sphere
represented measures of grain probably equivalent to our liter and our
bushel, respectively; the cylinder and lenticular disk showed numbers of
animals; the tetrahedrons were units of work; and so on.
Moreover, unlike tallies, which recorded only quantitative information,
the tokens also conveyed qualitative information. The type of item
counted was indicated by the token shape, while the number of units
involved was shown by the corresponding number of tokens. For example,
one bushel of grain was represented by one sphere, two bushels of grain
by two spheres, and (see Figure 1.1) five bushels corresponded to five
spheres. Therefore, like the previous tallies, the token system was based
on the simple principle of one-to-one correspondence. This made it
cumbersome to deal with large quantities of data, since humans can only
identify small sets by pattern recognition. There are a few instances of
tokens, though, which stood for a collection of items. Among them, the
lenticular disk stood for a “flock” (presumably ten sheep). The large
tetrahedron may have represented a week’s work or the work of a gang—
compared with the small tetrahedron, expressing one man-day’s work.
The tokens lacked a capacity for dissociating the numbers from the
items counted: one sphere stood for “one bushel of grain,” and three
spheres stood for “one bushel of grain, one bushel of grain, one bushel of
grain.” This inability to abstract numbers also contributed to the
awkwardness of the system, since each collection counted required an
equal number of tokens of a special shape. Furthermore, the number of
types and subtypes of tokens multiplied over time in order to satisfy the
growing need for more specificity in accounting. Thus, tokens for counting
sheep were supplemented by special tokens for counting rams, ewes, and
lambs. This proliferation of signs was bound to lead to the system’s
collapse.
The Neolithic symbolic system of clay tokens superseded the Paleolithic
tallies throughout the Near East because it had the following advantages:

A. The system was simple.

1. Clay was a common material requiring no special skills or tools to

be worked.
2. The forms of the tokens were plain and easy to duplicate.
3. The system was based on a one-to-one correspondence, which is
the simplest method for dealing with quantities.
4. The tokens stood for units of goods. They were independent of
phonetics and could be meaningful in any dialect.

B. The code allowed new performances in data processing and

communication.

1. It was the first mnemonic device able to handle and store an

unlimited quantity of data.
2. It brought more flexibility in the manipulation of information by
making it possible to add, subtract, and rectify data at will.
3. It enhanced logic and rational decision-making by allowing the
scrutiny of complex data.

. . . The code was also timely. It fulfilled new needs for counting and
accounting created by agriculture. It was an intrinsic part of the “Neolithic
Revolution” spreading throughout the entire region of the Near East,
wherever agriculture became adopted.

A Turning Point in Communication and Data Storage

Another random document with
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Pierre Rode (1774-1830) was the greatest of the players of this
period. He was for two years a pupil of Viotti, and when he made his
initial public appearance in 1790 at the Théâtre de Monsieur he
played Viotti’s thirteenth concerto in such a way as to win instantly
the admiration of all musical Paris. Considering that he was then but
a boy of sixteen, and that Paris was accustomed to the playing of
Kreutzer, Viotti, Gaviniés and other violinists of undisputed
greatness, one can have little doubt that Rode had the power of true
genius. This is further borne out by the fact that when he passed
through Brunswick on a concert tour to Poland in 1803, Spohr heard
him and was so struck with admiration for his style that he
determined to train himself with the ideal of Rode in his mind. Later
his playing fell off sadly and even in Paris he finally ceased to hold
the favor of the public.

Like Kreutzer he came into contact with Beethoven. Beethoven’s

sonata for violin in G major (opus 96) was completed for Rode, and
was apparently performed for the first time (1812) by Rode and
Beethoven’s pupil, the Archduke Rudolph. Even then, however,
Rode’s playing was faulty, and, according to Thayer, Beethoven sent
a copy of the violin part to him that he might study it before
attempting a second performance.

Like Kreutzer’s, Rode’s compositions, with the exception of twenty-

five caprices written as exercises, have been nearly forgotten. And
yet, though Rode was without conspicuous musicianship, he had a
gift for melody which made his compositions widely popular in their
day. Of his thirteen concertos two, the first, in D minor, the eleventh,
in A minor, were in the repertory of Paganini, who, moreover,
professed a high admiration for Rode. And among the earliest of his
compositions was a theme in G major, with variations, which won
such broad success that it was transposed and arranged for the
voice, and sung again and again on the stages of Paris.[51] Perhaps
only Paganini’s variations on the ‘Carnival of Venice’ have been so
popular.
Pierre Marie François de Sales Baillot (1771-1842) was the last of
the great French violinists of this time. Though as a mere boy he was
an accomplished player, and though he spent some years in Italy as
a pupil of Pollani (who was a disciple of Nardini’s), he seems not to
have decided to take up the profession of music until 1795. At this
time, according to Fétis, he first became thoroughly acquainted with
the masterpieces of the Italian classical composers, Corelli, Tartini,
and others, and the enthusiasm they stirred in him settled the future
course of his career. Upon the founding of the Conservatoire he was
appointed professor of violin playing, with Kreutzer and Gaviniés.
Subsequently he was active as a teacher, and not only as a solo
player but as a quartet leader. His was the greatest share in the
preparation of the Méthode which has already been mentioned. He
was a friend of Mendelssohn and of Ferdinand Hiller, and was much
admired by them for his qualities both as a player and as a leader.
His compositions, including fifteen trios for two violins and bass,
various studies, nine concertos, and a series of twenty-four preludes
for violin in all keys, have suffered the fate that has overtaken the
music of his friends and colleagues, Kreutzer and Rode. But his
instruction book, L’art du violin, is still worthy of most careful study,
not only for the technical advantages of its many exercises, but for
his own remarks on the condition of violin music in his day. These
offer to the student the best analysis of the qualities of the Paris
school of violin music, and of the relations of that school to the past.

II
The French school of classic violin music, represented by Rode and
Baillot, may be said to have come to an end at least partly by the
influence of Paganini. This greatest of all virtuosos made his first
appearance in Paris on March 9, 1831, after having astonished
Austria and Germany. His success was here as elsewhere
instantaneous and practically unbounded; and the examples his
playing offered of extraordinary technical effects became the model
for subsequent French violinists.
There are three virtuosos of the violin whose names stand out
conspicuously in the history of violin music: Locatelli, Lolli, and
Paganini. Each of these men is noted for special and in many ways
overstretched efforts to bring out of the instrument sounds and
combinations of sounds which, in that they can have little true
musical significance and are indeed often of questionable beauty,
are considered rather a sign of charlatanism than of true genius. This
really means that the men are not geniuses as musicians, but as
performers. Their intelligence is concentrated upon a discovery of
the unusual. They adopt any means to the end of astonishing the
multitude, such as altering the conventional tuning of the instrument,
and employing kinds of strings which are serviceable only in the
production of certain effects.

Of Locatelli some mention has already been made. He was a pupil of

Corelli and the serious traditions of his master have found a worthy
expression in many of his own works. On the other hand, his twenty-
four caprices, in the L’arte del Violino (1733), and the Caprices
enigmatiques in the L’arte di nuova modulazione, are sheer virtuoso
music and little more. They are the prototypes for many of the
studies and caprices of Paganini, who apparently devoted himself
almost with frenzy to the study of these caprices during the year
1804.

But Locatelli was a thorough musician as well as an astonishing

virtuoso. The type of empty-headed virtuoso who has apparently
nothing in his musical equipment but tricks, is represented by
Antonio Lolli (1730-1802). Here was a man who won unprecedented
success in most of the capitals of Europe, yet who, by all accounts,
knew little or nothing about music. Indeed, there is something
pathetic in his frank admission that he was an ass. ‘How can I play
anything serious?’ he is reported to have asked when requested to
play a simple adagio. Apparently he could neither keep time nor read
even easy music at sight. Yet he could so fiddle that many a man
believed he heard, not the violin, but voices, oboes, and flutes. And
some cried out that he must have ten fingers on the left hand and
five bows in the right. And at least two of his pupils, Woldemar
(1750-1816) and Jarnowick (1745-1804), were famous for no greater
accomplishments. But in the main the ‘tone’ of violin playing was set,
at the end of the century, by the great Italian, Viotti, and his
followers. This endured, as we have said, until the advent of
Paganini in the world of music.

Paganini’s early life in Italy (1784-1828) was at first not free from
hardship, but after 1805, at least, it was brilliantly successful. The
only lessons of importance in his training were received from
Alessandro Rolla (1757-1804). His prodigious skill was almost wholly
due to his own ingenuity, and to his indefatigable industry. There is
every reason to believe that he practiced hour after hour until he was
so exhausted that he fell upon the ground.

During the years between 1801 and 1804 he lived in retirement

under the protection of a lady of high rank, and during these years
gave up his violin and devoted himself almost wholly to the guitar.
This is among the first of his eccentricities, which every now and
then during his triumphant career cropped out to the amazement of
the public of all Europe. He was in fact so unaccountable in many
ways that a whole cycle of fables grew up about him, through which
he loomed up, now as a murderer who had acquired his skill during
long years of imprisonment, now as a man more than half spectre,
who had bought at some hideous price the intimate, and it must be
said wholly serviceable, coöperation of the devil. How many of these
stories were originated and purposely circulated by Paganini himself,
who knew how to cast a spell over the public in more ways than one,
cannot be definitely answered. On more than one occasion he
openly denied them and complained of them not without bitterness,
all with the greatest of plausibleness; and yet one cannot but suspect
that he knew the value of them in attracting the crowd out of a
fearsome curiosity.

After his extended tour over Europe (1827-1834), which brought him
a fame and a fortune hardly achieved since by any performer, he
retired into a semi-private life at his Villa Gaiona, not far from Parma.
From time to time he came again before the public. The more or less
scandalous affair of the ‘Casino Paganini’ in Paris (1836) took a slice
out of his fortune and perhaps seriously impaired his health. He died
on May 27, 1840.

There can be no doubt that whatever the so-called serious musical

value of his playing may have been, it took hold of the whole world
and left a mark upon it. His technique was at once colossal and
special. He built it up with the idea of playing before huge audiences,
and Spohr has remarked that in small surroundings he did not show
to good advantage. He had, of course, an incredible swiftness of
fingering, an amazing skill with the bow, particularly in staccato
passages, which he played, not in the classic manner of Rode, with
a movement of the wrist for each separate note, but by allowing the
bow to spring upon the strings. His intonation was faultless, in runs,
in double-stops and in octaves. Though he used oftenest light strings
in order to secure special effects in harmonics, and these precluded
a full, rich tone in the playing of melodies, yet he could play simple
passages with great sweetness and charm.

So far, however, his technique could hardly have exceeded that of

Rode. It was in the realm of special effects that he proved himself
little less than a wizard. Of these at least three are now within the
command of all the great players of the present day. One was the
combination of the left-hand pizzicato with notes played by the bow;
another the playing of ‘harmonics,’ particularly double-harmonics; the
third the playing of long and difficult movements upon a single string.
Musicians were in that day so baffled by these amazing sounds, of
which Paganini alone seemed to be master, that for years they
attributed to him a special secret power. There was no end of
speculation about Paganini’s secret, which, by the way, he was said
to have imparted to but one man, his pupil Sivori. Now, however, it is
all revealed. In playing pieces upon a single string he was
accustomed to raise the pitch of the string, and to go into the highest
registers by means of harmonics. He changed the tuning of his violin
also in playing his concertos and some of his caprices, and he made
a frequent practice of sliding his fingers, and was not above imitating
sobs, cries, laughter, and on one occasion, of which he has left an
account, somewhat maliciously the braying of donkeys in Ferrara!
 Caricature of Paganini.

Statuette by J. P. Dantan (1832).

Still, though the secrets of his mechanism are now clear as day, and
within the control of many even mediocre players, his music,
wherewith he literally set half Europe crazy, has fully responded to
no fingers but his own. This may be because his tricks have become
known and familiar; but more likely his success drew from more than
these tricks, and the secret of it was in his astounding appearance
and uncanny personal magnetism. Tall, lank, gaunt, dark, with
blazing eyes and fingers like a skeleton, he may well have brought
with him a sulphurous halo when he glided like a spectre upon the
stage. He was indeed more a magician than a musician, a sorcerer
too inspired to be called a charlatan.

The effect of his playing upon all branches of music was

instantaneous. His name became the synonym for the highest
perfection in playing and singing of all kinds. In the opinion of
Chopin, Mlle. Sontag is as perfect as Paganini; and in that of
Mendelssohn Chopin upon the piano rivals Paganini upon the violin.
Schumann sets about transcribing the caprices of Paganini for the
piano. Liszt makes of himself a second wonder of the world by
imitating Paganini; and not only that, but expands the technique of
his own instrument to unheard of dimensions.

Paganini’s compositions are for the most part without conspicuous

value, except for the purely technical extravagances which they
display. Relatively few were published during his lifetime. These
include the universally famous twenty-four caprices for solo violin,
opus 1, two sets of sonatas for violin and guitar, and three quartets
for violin, viola, guitar and 'cello. After his death a host of spurious
works appeared; but Fétis gives as genuine two concertos, one in E-
flat, one in B minor, the latter of which contains the Rondo à la
clochette, which was one of his most successful pieces; two sets of
variations, one on an air by S. Mayer, known as Le Stregghe
(‘Witch’s Dance’), one on the immortal air Le carnaval de Venise,
both of which were almost invariably on his programs; and the
Allegro de concerto in perpetual motion.
 III
Paganini’s success was hardly less brilliant in Germany than it was
elsewhere in Europe. At least Schumann and Mendelssohn
submitted to the fascination of his incomparable skill. Yet on the
whole violin playing in Germany remained less influenced by
Paganini than it proved to be in France, Belgium and England. This
was not only because of the influence of the great German classics,
nor because the tendency of the German violinists was rather away
from solo virtuosity and toward orchestral and quartet playing; but
largely also because of the firm leadership of Ludwig Spohr,
practically the one man about whom a definite German school of
violin playing of international importance centres.

Spohr was born in the same year as Paganini (1784). His training on
the violin was received from Franz Eck, a descendant of the famous
Mannheim school. But according to his own account, the example of
Rode, whom he heard in 1803, was of great importance in finally
determining his style of playing. His numerous activities took him
considerably beyond the field of playing and composing for the violin.
He was famous as a conductor in Vienna, in Dresden and Berlin,
and in London, whither he was frequently called to undertake the
conducting of his own works. As a composer he was famous for his
symphonies, his oratorios, and his operas. Yet he was not, in a
sense, a great musician; and the only part of his great number of
works which now seems at all likely to endure much longer in
anything but name is made up of the compositions, chiefly the
concertos, for violin.

Of these concertos there are seventeen in all. Among them the

seventh, eighth, and ninth are often singled out as the best; and
indeed these may be said to be the best of all his works. The eighth
was written on the way to a concert tour in Italy, and was intended
especially to please the Italians, and written in a confessedly
dramatic style, in modo d’una scena cantante. None of the concertos
is, strictly speaking, virtuoso music. Naturally all reveal an intimate
knowledge of the peculiarities of the violin; but these hardly over-rule
the claim of the music itself. He calls for a sort of solid playing, for a
particularly broad, deep tone in the cantilena passages, for a heavy,
rather than a light and piquant, bow. He was a big man in stature,
and his hands were powerful and broad. Evidently he was more than
usually confined within the limits of his own individuality; and his
treatment of the violin in the concertos is peculiar to him in its
demand for strength and for unusually wide stretches. Even the
passage work, which, it must be said, is far more original than that
with which even Rode and Viotti were willing to be content, hardly
ever exhibits the quality of grace. He is at times sweet and pure, but
he is almost never bewitching.

A great many will say of him that he deliberately avoids brilliant

display, and they will say it with contentment and pride. But it may be
asked if the avoidance of brilliancy for its own sake is a virtue in a
great musician. This sort of musical chastity becomes perilously like
a convenient apology in the hands of the prejudiced admirer. In the
case of Brahms, for example, it daily becomes more so. And now we
read of Spohr’s unlimited skill as a player and of the dignified
restraint manifested in his compositions for the violin. But by all
tokens the concertos are being reluctantly left behind.

Among his other works for violin the duets have enjoyed a wide
popularity, greater probably than that once enjoyed by Viotti’s. His
Violinschule, published in 1831, has remained one of the standard
books on violin playing. Its remarks and historical comments are,
however, now of greater significance than the exercises and
examples for practice. These, indeed, are like everything Spohr
touched, only a reflection of his own personality; so much so that the
entire series hardly serves as more than a preparation for playing
Spohr’s own works.

Spohr was typically German in his fondness for conducting, and for
the string quartet. As quite a young man he was the very first to bring
out Beethoven’s quartets opus 18, in Leipzig and Berlin. Paganini is
said to have made a favorite of Beethoven’s quartet in F, the first of
opus 59; but Spohr was positively dissatisfied with Beethoven’s work
of this period. Yet Paganini was in no way a great quartet player, and
Spohr was. We cannot but wonder which of these two great fiddlers
will in fifty years be judged the more significant in the history of the
art.

Certainly Spohr was hard and fast conservative, in spite of the fact
that he recognized the greatness of Wagner, and brought out the
‘Flying Dutchman’ and Tannhäuser at the court of Cassel. And what
can we point to now that has sprung from him? On the other hand,
Paganini was a wizard in his day, half-charlatan, perhaps, but never
found out. With the exception of Corelli and Vivaldi he is the only
violinist who, specialist as he was, exerted a powerful influence upon
the whole course of music. For he was like a charge of dynamite set
off under an art that was in need of expanding, and his influence ran
like a flame across the prairie, kindling on every hand. Look at
Schumann and Liszt, at Chopin and even at Brahms. Stop for a
moment to think of what Berlioz demanded of the orchestra, and
then of what Liszt and Wagner demanded. All of music became
virtuoso music, in a sense. It all sprang into life with a new glory of
color. And who but Paganini let loose the foxes to run in the corn of
the Philistines?

Among Spohr’s pupils Ferdinand David (1810-1873) was

undoubtedly the greatest. He was an excellent performer, uniting
with the solidity of Spohr’s style something of the more occasional
fervor of the modern school, following the example of Paganini. His
friendship with Mendelssohn has been perpetuated in music by the
latter’s concerto for the violin, in E minor, which David not only
performed for the first time in March, 1845, but every measure of
which was submitted to his inspection and correction while the work
was in process of being composed.

David has also won a place for himself in the esteem and gratitude
of future generations by his painstaking editing of the works of the
old Italian masters. Few of the great works for the violin but have
passed through his discriminating touch for the benefit of the student
and the public. And as a teacher his fame will live long in that of his
two most famous pupils: Joseph Joachim (1831-1907) and August
Wilhelmj (1845-1908).

IV
How great an influence the group of French violinists exercised upon
violin music and playing in the first quarter of the nineteenth century
is revealed in the training and the characteristics of the famous
Viennese players of the time. Vienna had always proved fertile
ground for the growth of Italian ideas, and the French style
recommended itself to the Viennese not only by the prevalence of
French ideas in the city, owing to political conditions, but also
because this style was in no small measure a continuance of the
Italian style of Viotti.

Among the Viennese violinists may be mentioned Franz Clement

(1780-1842), who, even as a boy of eleven, was making successful
concert tours over Europe. In the years 1791 and 1792 he played in
London in concerts directed by Haydn and Salomon. Here as
elsewhere his playing was admired for its delicacy as well as for its
sureness and clarity, qualities which ever recalled to the public of
that day the playing of Viotti and Rode. He was not above the tricks
of the virtuoso; yet there can be no better proof that he knew how to
use his great technique with the worthiest aim than that Beethoven
dedicated to him his concerto for violin. He was a thorough musician.
They told a story in Vienna, according to Spohr, of how, after hearing
Haydn’s ‘Creation’ only a few times, he was able, using only the text-
book alone, to arrange all the music for the pianoforte so completely
and so accurately that when he showed his copy to old Haydn the
master thought his score must have been stolen and copied. Another
proof of his musicianship is that he was appointed the first
konzertmeister at the Theater an der Wien.

Schuppanzigh’s pupil, Joseph Mayseder (1789-1864), was among

the brilliant and pleasing players of the time. In spite of the fact that
he was at one time a member of his master’s famous quartet, his
tastes seem to have run to a light and more or less frivolous style of
music. The tendency showed itself not only in his playing, but in his
compositions. These included concertos and brilliant salon pieces;
and also string quartets and quintets and other pieces of chamber
music, all now quite out of date.

Perhaps the two most influential of the Viennese violinists were

Joseph Boehm and Heinrich Wilhelm Ernst. Boehm (1798-1867) was
a pupil of Rode, whose acquaintance he made in Poland. Later he
visited Italy, and afterwards was appointed a teacher of the violin in
the Conservatory at Vienna. Though he was famous in his day as a
player who possessed the necessary skill in fingering and bowing,
he was above all a teacher. The list of his pupils includes Ernst, G.
Hellmesberger (b. 1800), Joachim, Ludwig Strauss (b. 1835),
Rappoldi (b. 1831) and Grün. Also Reményi, at one time an
associate with Brahms on concert tours, belongs among them.

Ernst was less a teacher than a virtuoso, whose skill was so

extraordinary as to pique Paganini. It is even said that he used to
follow the astounding Italian on his concert tours that he might
discover some of the secrets of his playing. His own variations on
the ‘Carnival of Venice’ are a brilliant imitation of the style of
Paganini. He spent most of his life in concert tours; and, though he
was known to be a fine, if not a deep, musician, the virtuoso shows
in most of his compositions, which are of little more than secondary
merit. He died on October 8, 1865, having enjoyed a fame as a
player second only to that of Paganini and de Bériot.

The Bohemians Johann Wenzelaus Kalliwoda (1801-1866) and

Joseph Slawjk (1806-1833), both achieved considerable fame.
Chopin spoke of Slawjk with greatest admiration, wrote that with the
exception of Paganini he had never heard a violinist like him. The
two became friends and conceived the project of writing together a
work for piano and violin. If Slawjk had lived longer he might well
have rivalled Paganini, whose playing he, like Ernst, strove to match.

The star of Paganini exercised over every nation of musicians its

irresistible attraction. Besides famous players of Austria and
Bohemia mention must be made of C. J. Lipinski, the Pole. Lipinski
remained in Poland up to the time (1817) when rumors came out of
Italy of the astonishing performances of the Genoese. Then he went
to Italy determined to hear the wonder himself. In Piacenza he heard
him, and later became his friend and associate. It is even said that
Paganini proposed to him a joint concert trip through the large Italian
cities; but Lipinski had been too long away from his native land and
felt unable to remain away longer. His playing was characterized by
an especially strong stroke of the bow, an art he possibly acquired
from a year’s hard work on the 'cello. His compositions, few of which
are generally heard today, are said by Wasielewski to show fine
musicianship and considerable subjective warmth. The best of them
is the so-called ‘Military’ concerto in D major. His ability as an editor
is proved by his work with Klengel on an edition of Bach’s sonatas
for violin and harpsichord, published by Peters. Lipinski died at
Urlow, near Lemberg, in December, 1861.

V
The most brilliant offshoots of the French school, to the formation of
whose style the influence of Paganini contributed, were the Belgians
de Bériot and Henri Vieuxtemps, who stand together as
representative of a Belgian school of violin playing. But before
considering them a few names in the long and distinguished list of
the pupils of Kreutzer, Rode, and Baillot may be touched upon.
Among those of Kreutzer Joseph Massart was perhaps the most
influential. He was born in Belgium in 1811, but went early in life to
Paris to complete with Kreutzer the work begun with his countryman
Lambert. Here he remained, and from 1843 was a professor of the
violin at the Conservatoire. At least one of his pupils, Henri
Wieniawski, won a world-wide fame as a virtuoso.

Among Rode’s pupils Charles Philippi Lafont (1781-1839) stands out

prominently. Lafont had also been a pupil of Kreutzer’s. His playing
was, according to Spohr, full of energy and grace, perfect in
intonation, and fine of tone, but rather mannered. His compositions,
including duos written with Kalkbrenner, Henri Herz and other
virtuoso pianists, and more than two hundred Romances, are of no
genuine value. The seven concertos are quite forgotten.

F. H. Habeneck (1781-1841), one of the most influential of French

musicians, was a pupil of Baillot. He and his two brothers, Joseph
and Corentin, were excellent violinists. But though he held a place of
honor among virtuosi of that day, and though he wrote a number of
works for the violin, he is remembered today chiefly as the founder of
the Société des concerts du Conservatoire. These were instituted by
his energy in 1828, and for twenty years he remained conductor of
them. By him the symphonies of Beethoven were introduced into
France. He was for many years teacher of the violin at the
Conservatoire. Alard (b. 1815), the teacher of Sarasate, was his
most famous pupil.

Massart, Alard, and Léonard (b. 1819), another pupil of Habeneck,

were all Belgians; but all remained in Paris as teachers in the
Conservatoire. Hence they are considered as representative of a
Franco-Belgian school of violin playing. Charles Auguste de Bériot
(1802-1870), though studying for many years in Paris under the
advice at least of Viotti and Baillot, and though familiar to all Europe
as one of the most brilliant of the world’s virtuosos, was for nine
years (1843-52) professor of violin playing at the Brussels
Conservatory, and may therefore be considered to have brought to
Brussels that fame as a centre of brilliant violinists which she has
enjoyed without interruption down to the present day.

In de Bériot’s playing as well as in his numerous compositions the

influence of Paganini rises clearly into sight above that of the older
classical traditions of which Paris was the guardian during the first
quarter of the century. He was a master of the Paganini effects, of
the mysterious harmonics, the dazzling runs and arpeggios, the
sparkling pizzicatos; and they are thickly sown over his music. Yet
there was in both his playing and his compositions a genuine
musical charm. Especially in melodiousness. His wife was Maria
Malibran, and through her inimitable singing he heard at their best
the graceful melodies of the Italians Bellini and Donizetti, and of the
Frenchman Auber, which undoubtedly greatly affected his own
compositions. These, once widely popular, included seven
concertos, several airs variés, and duos for piano and violin, written
in conjunction with such virtuosos as Thalberg.

Among his pupils the most famous was Henri Vieuxtemps (1820-
1881), one of the few great virtuosos of the violin whose fame as a
player has not outlasted in memory his compositions. Vieuxtemps’
five concertos, his Ballade et Polonaise, and even his Fantaisie-
Caprice are still in the repertory of most violinists and have not yet
lost their favor with the public.

His life is a series of long and enormously successful tours, which

took him not only over most of Europe, even Russia, but thrice to the
United States.
 Great Violinists. From top left to bottom right: Charles
Auguste de Bériot, Henri Wieniawski (his brother Joseph
at the Piano),
Joseph Joachim, Henri Vieuxtemps.
These tours were undertaken now alone, now in the company of
some other virtuoso such as Thalberg. He made the acquaintance of
almost all the distinguished musicians of his age, among them
Robert Schumann and Richard Wagner; his repertory was wide and
varied, including even Beethoven’s concerto, which was not during
the early years of his life frequently performed by any but the
German violinists.

As to his playing Paul David wrote in an article for Grove’s

Dictionary: ‘He had all the great qualities of technique so
characteristic of the modern French school. His intonation was
perfect; his command of the bow unsurpassed. An astonishing
staccato—in up and down bow—was a specialty of his; and in
addition he had a tone of such breadth and power as is not generally
found with French violinists. His style of playing (Vortrag) was
characteristically French. He was fond of strong dramatic accents
and contrasts, and generally speaking his style was better adapted
to his own compositions and those of other French composers than
to the works of the great classical masters. At the same time it
should be said that he gained some of his greatest successes in the
concertos of Beethoven and Mendelssohn, and was by no means
unsuccessful as a quartet player, even in Germany.’

VI
Excepting Spohr, there are few of the violinist-composers of the
second half of the century with whom fate has dealt so kindly as with
Vieuxtemps. Most have been forgotten as composers, a fact which
may be taken to prove that their compositions had little musical
vitality except that which their own playing infused into them. Those
few who have been remembered in fact as well as in name owe the
permanence of their reputations to one or two pieces in the nature of
successful salon music. Among these should be mentioned Henri
Wieniawski (1835-1880), undoubtedly one of the finest players of the
century. In the early part of his life he wandered from land to land,
coming in company with his friend Anton Rubinstein, the great
pianist, even as far as the United States. He was after this (1874) for
a few years professor of the violin at the Conservatory in Brussels,
filling the place left vacant by Vieuxtemps; and then once more
resumed his life of wandering. His compositions were numerous,
including two concertos as well as a number of studies and
transcriptions, or fantasias, of opera airs. Now perhaps only the
Légende is still familiar to a general public, though the Fantasia on
airs from ‘Faust,’ empty as it is of all save brilliance, holds a place on
the programs of the virtuosi of the present day.

Bernhard Molique (1803-69), a violinist of considerable repute about

the middle of the century, composed five concertos, as well as
numerous smaller pieces, an acquaintance with which today is a
privilege in the main reserved to the student. The concertos are
without genuine musical vitality. Most of his life, after 1849, was
spent in England, where he surrounded himself with many pupils.

Joseph Joachim, one of the most admired violinists and musicians to

be found in the history of the art, was a thoughtful composer. His
relations with Brahms have elsewhere been mentioned in this series.
But Joachim’s compositions are for the most part likely to be
forgotten, with the possible exception of the Hungarian Concerto,
opus 11, the second of his three compositions in this form. However,
few if any other virtuosi have ever so united in themselves the
highest qualities of man and musician, and probably no other player
ever exerted just the sort of moderate and wholly salutary influence
which sprang from Joachim. Among the many signs of the high
esteem in which he was held may be mentioned only the four
honorary degrees conferred upon him by the universities of
Cambridge, Glasgow, Oxford and Göttingen.

In the course of his long life (1831-1907) Joachim became intimately

associated with various circles of musical activity. During the six
years between 1843 and 1849 he was in Leipzig, then enjoying the
enthusiastic efforts of Mendelssohn and Schumann. Again we find