The daily sentinel., 1912-04-23
Heinemann Recital.

Alexander Heinemann won the
hearts of Grand Junction music low
ers with his wonderful voice last
night and his accompanist, .Iuhn
Mandelbrod. was hardly less appreci-
ated. The two artists are perhaps
the greatest musicians Grand June
tion people have heard in this city in
score of years.
All things are music TO 4 musician
and Heinemann extracted melody
from a score of selections in his yari-
able program from the CORY "R obe-
srierre' to the lilins Der Kuss.
and the ribald Fifteen Men on
Dead Mans Chest" which no one
had ever heard before except in
Treasure Island"
Heinemann possesses unexpected
volume and unbelievable qualities of
expression. He hobbies out to his
place on the platform like an old,
decrepit man and one wondered if
one was to hear the memories of
voice that had long since lost its
power to charm. But, once Mendel-
brod broke the spell with the first
chord on his instrument, Heinemann
was alive with expression. II Love
Thee" was his first selection and he
voiced 1t in its original German with
such a world of expression that the
foreigness of his tongue was only in
cidental. He sang in a speech as uni
versal as pictures-the unwritten
language of lovers.
within the Tomb" in Italian. was
dirgelike and profoundly impressive.
His voice descended to unexpected
depths of range. retaining it's full
volume and strength. Gradually
those in his audience who feared that
they would not appreciate his songs
in his native tongue began to feel
the powers of his music, apart from
the beauty of the text. His hearers
began to understand the broad grasp
of the duet between voice and instru-
ment and to care ever less and less
for the sensate meaning of the words.
The Slumber Song" in English;
The Old Fashioned Fellow" in
German; the Italian Largo" by
Haendel; "Once at the Angelus," in
English successfully pleased and de-
lighted with their wide change of
style.
Heinemann was able to lend en-
preston to any kind of ballad, 1t
seemed, with ease and grace. He did
not move from his place, his hands
never left the music sheet, but with
each varying tone and expression, his
whole frame seemed to vibrate with
meaning and carry with the shadings
of his voice the unguessed beauties
of the songs to receptive hearers.
Powerful to project the significance
Of his selections to those who heard
him, Heinemann was realized as a
master of expression.
This was not better illustrated
10 II ~,
he rendered with infinitely more ex-
preston than Nine. Langendorf, who
was heard here a few years ago. His
ability to indicate every emotion in
the words by what might be termed
unseen gestures was shown to good
advantage in the Pirate Song" of
Schumanns. The sweetest lyric of
all, however. was "Wohin' ("Whith-
er'). Here he seemed at his best.
Dropping all the roaring revelry of
the drinking song for the charming
story of the brooks flight to the
sea. Heinemann was delight to
hear. He responded to his first en-
core with repetition of the entire
song.
The Erl-king." an old favorite
song of lieder singers, was the final
selection on his program. but so
thoroughly aroused were the audi
ence TO the greatness of the artist
that they insistently demanded anoth-
er selection. 1t was. Unexpectedly.
Loewe's The Little Irish Girl" This
seemed to be the final climax to
Heinemann's triumph. To hear his
rich Deutsch rolling out the Celtic
phrases of colleen" "mavourneen, ;"
"ochone,' etc. was exquisite.
Mr.. Mandelbrod deserves here
more than passing mention. His work
was worthy of the highest praise and
he is well able to make his way as