mmer, when vacation comes, he is obliged to remain in
the city. Through Joseffy he was persuaded to go to New York, as the
field was broader.

In opera naturally the leading singers, the chorus, the musicians, all
play an important part, but by far the most important of all is that
assumed by the musical director. It is his hand that binds all the
component parts, that might otherwise not act in unison, into a
harmonious whole; his genius that brings out all the hidden beauties
of the score, all the delicate nuances the composer had in mind. It
was therefore an event of more than ordinary importance and an
entirely new departure in the musical world when Henry W. Savage made
the announcement in regard to his immensely popular comic opera. The
Prince of Pilsen, that he had as musical director no less a celebrated
maestro than Gustav Hinrichs, formerly conductor for the Metropolitan
grand opera company. Mr. Hinrichs ranks among the very foremost
operatic musical directors, standing on a level with such geniuses as
Alfred Hertz, Toscanini, Mancinelli, Campanari, Gustav Mahler and
Leopold Damrosch.

Julius Hinrichs was the cello player and a most sympathetic and
beautiful one. I remember in 1875 I gave a concert in old Platt's hall
in Montgomery street, and he played for me that night and also played
the obbligato to the slumber song by Randegger. I never sang it so
well in my life. Gustave Scott was the accompanist that evening, and
it proved to be the choice number of the concert. Mr. Hinrichs married
one of my talented pupils, Miss Nellie Paddock. She was not only a
sweet singer, but also a pianist of repute, and to hear those artists
play was truly a treat. They were popular for a number of years before
Julius died, some time in the eighties. I never heard what Mrs.
Hinrichs did after the death of her husband. I was living in San
Bernardino at the time, and when I returned to San Francisco I moved
to the Western addition and never met any of the Hinrichs family until
years after, when I moved to Oakland in 1891 and after the earthquake.
The youngest son, August Hinrichs, is the popular leader of Ye Liberty
theater orchestra, Oakland, and at this theater he charms his hearers
with the magic touch of his treasured Stradivarius which he uses with
such artistic skill. For years he was leader in the orchestras of old
San Francisco. After the earthquake he found in Oakland a permanent
refuge where he can continue his excell