The herald., 1898-11-11
. . . . . . . . . . .
THE HfINRICHS AT
SIMPSON TABERNACLE

The comparison drawn by an over-zealous
! press agent between Henschel and Helm
rich was uncalled for as it was obnoxious,
besides, in all probability, being entirely un-
authorized by Mr.. Heinrich. The individ-
uality, voice and method of these two mas
ters of song are absolutely different. There
is one characteristic that is common to the
work of both, and that is the consummate
skill which gives an exquisite finish to every
note upon the piano and every tone of the
voice. Beyond this their styles are widely
divergent. Heinrich has not the robust
vigor, the soul'inspiring strength of Hen
schel, nor has Ilenschel the deicously
| light touch of Heinrich. Both are incom-
parable artists and since the strong individ-
uality of each is his most prepossessing tai
ent, comparison TO the detriment of either
seems yapid and vain.
The usual disappointment presented itself
in Simpson tabernacle last night The aud
iencc was not half, not third, as large as
such superb musical attraction merited
1t seems that the people of Los Angeles have
not yet awakened to the rare opportunities
of hearing the best that the world can offer,
and despite frequent warnings the days are
threatened when the best artists will simply
refuse to come here and an enterprising
manager will renounce his efforts in despera-
ton and disgust.
The advent of the Heinrichs had been
heralded for several weeks. There, can be
no excuse on the ground of ignorance The
only cause that can be discovered is an in
comprehensive apathy, for which not only
the general community, but the few musical
people, who thoroughly appreciate the best
and never neglect their opportunities, will
be punished.
Max Heinrich is captivating artist. Be-
sides the mellow richness of his voice, its
perfect training, the marvellous magic of his
accompaniments, his exuberant good spirit
is contagious and he becomes Immediately
en- rapport with his audience. Indeed, it is
almost as pleasant to watch MIR. Heinrich
as it is to listen to him, for every gesture is
eloquent, an additional Interpretation of his
music
Mr.. Heinrich finds most able assistance
from his wife and daughter in presenting a
delightful program. Mrs. Heinrich, who
has been suffering from what her husband
hunorously diagnosed as ''San Francisco ca
tarrh," was hardly able to do herself JUS
tice last night. but her voice blended charm
ingly with both her daughters and her hus-
bands, and in every number displayed the
finest cultivation and the truest artistic
sense.
Miss Julia Heinrich is a feminine refec-
tion of her illustrious sire, and, one would
judge, also his aptest pupil. This daughter
of accomplished parents has also inherited
a splendid voice, rich, velvety contralto,
every tone clear, firm and resonant. The
same perfectly distinct articulation that
marks and magnifes the enjoyment of her
fathers singing is conspicuous. There is
only lacking-or is it in seclusion or re-
straint?-the same wonderful verve, with
which Heinrich electrifes his audience even
in the simplest song.
The program was altogether delightful, |
and the artists were generous in responding
to the enthusiasm of the audience with a
number of encores.
A group of five Schubert songs opened the |
evenings enjoyment and from the first bars
of 'Die Post" the audience realized the treat
in store for them, being jealousi of every
note. The exquisite phrasing and delicate
expression of just two notes, two words
"Men Herr" was revelation. "Fruehings |
CLAUDE" and the favorite, "Staendchen, were |
given with a delightfully."- graphic touch. |
while "Gruppe aus dem Tartarus" and Der |
Erl Koenig" both displayed a most vivid |
power. Heinrich had enthralled his audi
ence, and they would not let him go be-
fore he gave them Schumman's grand |
"Grenadiers."
Three of Schumann's duets, sung by Mrs.
and Miss Heinrich, followed, and as an en-
core Mendelssohn's Greeting" was delight
fully rendered.
Miss Julia Heinrich then sang a couple of |
quaint ballads by Arthur Foote and Frances
Campbell's "My Laddie," the last especially
pleasing the audience, whose applause she
rewarded with Nevin's "'Twas April"
Max Heinrich's next numbers were two
of Jensen's tuneful compositions, "Murmur-
ing Breezes" and "On the River Manza-
nares." This was not enough, and the bari
tone gave Foote's pathetic ballad, "The
Land O the Leal," and capricious conceit,
Bird and Rose" by Amy Horrocks.
Mrs. Heinrich's solos were two old fa-
vorites, Haydn's "My Mother Bids Me Bind |
My Hair" and DIR. Arne's "Polly Willis"
besides clever and very quaint Chinese love
song by Ed S. Kelley.
Heinrich's last group of songs was a catho-
lie selection, including the compositions of
Haendel, Mackenzie, Gounod, Cowen and
Clay, and memorable evenings music was
concluded by two duets from Mozart's
"Magic Flute"
1t is safe to predict that the majority of
those who heard the eIinrichs last night will |
go again tonight, when the following pro-
gram is promised
'Fruehings Ankunft" (spring's arlivaD,
"Marienwuermchen" Qadybird), "Mond.
nacht" (moonlight), "Schneeglockchen"
(snowdrops), two gondolier songs (Thomas
Moore), (a) ''When Through the Piazetta,"
(b) Grow Gently Here, My Gondolier,"
"Die Zwei Grenadiere" (the two grena-
diers), (Robert Schumann) Max Heinrich
n RHI