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Scan 424
Baker's biographical dictionary of musicians, 1919
12 lines. Read by computer on 4 September 2026. Printed page 403. See the scan on archive.org.
1from Eb below the bass staff to f# above.
3Hin'ke, Gustav Adolf, b. Dresden, Aug. 24, 1844; d. Leipzig, Aug. 4, 1893. A fine oboist, son of Gottfried H. [d. 1851; said to have introduced the bass tuba into the Dresden orch.]. Pupil of Dresden Cons. (Hiebendahl, oboe); in 1867, first oboist in theatre-orch. and Gewandhaus, Leipzig.
5Hin'richs, Friedrich, b. Halle-on-the-Saale, Feb. 4, 1820; d. Berlin, Oct. 25, 1892, as a judge of the Supreme Court (Oberjustizrat). Comp. songs in the style of his friend and brother-in-law, Robert Franz, and wrote an essay on R. Wagner und die neue Musik (1854).—His sister, Marie H., b. 1828; d. Halle, May 5, 1891; wife of R. Franz, was also a song-composer.
7Hinshaw, William Wade, dramatic baritone; b. Union, Iowa, Nov. 3, 1873. In youth a fine cornettist; graduated B. S. at Valparaiso (Ind.) Univ. in 1890, and began serious musical study there under R. A. Heritage (voice and harm.), continuing with L. G. Gottschalk and L. A. Phelps in Chicago, where he became choir-director at the Second Bapt. Ch.; in 1895, dean of the Cons. of Music at Valp. Univ. First concert appearance at Chicago World's Fair, 1893; then took up the study of grand opera under Arturo Mareschalchi, and in 1899 was eng. for the H. W. Savage Grand Opera Co., making début as Mephisto in Gounod's Faust at St. Louis, Nov. 6, with marked success. After three years with this company, singing leading rôles in some 50 operas and operettas, in 1903 he opened the Hinshaw School of Opera in Chicago, the success of which brought about a merger with the Chicago Cons., H. being president of the combined institutions 1903–7. During this period he also studied German opera with Belwoldt at Frankfort-on-the-Main. In 1909 he founded the Internat. Grand Opera Co. of Chicago, and as general director took a leading part in its every department, singing in 126 performances during the season of 14 weeks, and even acting as stage-director; this venture led to the establishment of the Chicago-Philadelphia Opera Co. in 1910, under the auspices of the Metr. Op. Co. of New York (see art. Dippel). In Feb., 1910, H. signed a 3-year contract with this latter company; sang for the first time in the Metr. Opera House, New York, on Nov. 16, as Biterolf in Tannhäuser. In 1912 he sang in the Wagner fest. at Graz, and in 1914 in the special Ring festivals at Berlin. He created the rôle of Gloom in Parker's Mona (1912), the King in Lobetanz (1912), Le Bret in Damrosch's Cyrano de Bergerac (1913), and Corvain in Parker's Fairyland (1915.) Of imposing stature (6 feet 3 inches), and endowed with a rich and sonorous voice having a range from F to b1b, his impersonation of serious rôles is most striking; but he is equally at home in light opera, and his repertory includes more than 50 works: Ring des Nibelungen, Parsifal, Tannhäuser, Lohengrin, Der fliegende Holländer, Der Freischütz, Faust, Carmen, Martha, Der Bettelstudent, Il Trovatore, La Sonnambula, La Traviata, The Bohemian Girl, The Mikado, Robin Hood, etc. H. is also an excellent concert-singer; from 1908 to 1910 he toured the U. S. and Canada, giving song-recitals, and appearing in concert and oratorio.
9Hinton, Arthur, b. Beckenham, England, Nov. 20, 1869. For 3 years, pupil at the R. A. M., studying vln. with Sainton and Sauret and comp. with F. W. Davenport; then for 3 years sub-prof. at the R. A. M.; also played in concerts in London and the provinces; went for further study to Rheinberger in Munich, and there wrote his first large work, a symphony, which he cond. at one of the Cons. concerts; after some time spent in Vienna, Rome and Albano, industriously composing, he returned to London in 1896, where he has resided since; for several years he was examiner on the Assoc. Bd. of the R. A. M. and R. C. M. In 1903 he married the celebrated pianist Katharine Goodson, an ideal interpreter of his piano-works. He is a composer of solid attainments and sane tendencies, who does not find it necessary to abandon form; his larger orchestral works and chamber-music have figured frequently on programs in England and America.—Works: An opera Tamara (not prod.); 2 children's operettas, The Disagreeable Princess and St. Elizabeth's Roses; 2 symphonies (Bb, C m.); The Triumph of Caesar, orchestral fantasy; Endymion, suite f. orch.; Porphyria's Lover, dramatic romance for orch.; Epipsychidion, scena for tenor and orch.; Semele, do. for sop. and orch.; Concerto in D m. for piano and orch.; Sonata in Bb for vln. and piano; Suite in D for do.; String-trio in D m.; Pf.-quintet in G m.; Chant des Vagues for vcl. and piano; piano-pieces (Étude Arabesque, Rigaudon, Romance in A, A Summer Pilgrimage [6 pieces]), etc.
11Hip'kins, Alfred James, F. S. A., authority, lecturer, and expert performer on ancient mus. instrs.; b. Westminster, June 17, 1826; d. London, June 3, 1903. He was connected in business with the Broadwoods; to his indefatigable researches are due many valuable contributions to the 'Encyclopædia Britannica' and Grove's 'Dictionary of Mus.' He wrote, besides, a Guide to the Loan Collection of Mus. Instrs., etc., at the Albert Hall (1885); Old Keyboard Instruments (1887); Musical Instrs., Historic, Rare, and Unique (1888); The Standard of Musical
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