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Scan 119
Grove's Dictionary of music and musicians, 1927
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1music in Scotland (see sketch of life and portrait in Mus. T., Jan. 1904).
3Robert E. Stirling Paterson, grandson of the founder, succeeded to his father's position.
5The firm is distinguished for its great issue of Scottish music of all kinds, which includes reprints of standard editions of Scottish songs, etc.
7F. K.
9PATEY, JANET MONACH, née WHYTOCK (b. London, May 1, 1842; d. Feb. 28, 1894). Her father was a native of Glasgow. She received instruction in singing from John Wass, and made her first appearance in public at a very early age, at the Town Hall, Birmingham. She became a member of Henry Leslie's Choir, and afterwards received further instruction from Mrs. Sims Reeves and Pinsuti. In 1865 she was engaged by Lemmens for a provincial concert tour. In 1866 she was married to J. G. PATEY (2), and sang at the Worcester Festival of that year. From that time her reputation continued to increase, until in 1870, on the retirement of Madame Sainton-Dolby, she succeeded to her position as leading contralto concert-singer, and as such sang in all the principal new works. In the part of Blanche of Devan, in Macfarren's 'Lady of the Lake,' she developed an amount of dramatic power for which her admirers had not given her credit.
11In 1871 she started on a concert tour in America with Edith Wynne, Cummings, Santley, and her husband, and enjoyed great success. In 1875 she sang with her usual success at the Cirque des Champs Elysées, Paris, in French, in four performances of the 'Messiah,' on the invitation of Lamoureux, and under his direction. Also on Jan. 31 of the same year she sang in English 'O rest in the Lord,' at the concert of the Conservatoire, with such effect that she was re-engaged for the next concert, Feb. 7, when she more than confirmed the previous impression. In commemoration of this the directors presented her with a medal bearing the dates of the concerts, a compliment rarely accorded by that body to any singer. On Mar. 15, 1881, when Lamoureux gave his first concert in England at St. James's Hall, she sang Godard's scena 'Aurore,' and in Berlioz's Duo Nocturne from 'Béatrice et Bénédict' with Mme. Brunet-Lafleur, who had sung with her previously in the 'Messiah' at Paris. In 1890 and 1891 she sang on tour in Australia, and on her return appeared, Oct. 11, 1891, at the Crystal Palace. Intending to retire, she undertook a farewell tour, but it was brought to a tragic close by her sudden death. She had sung at the Albert Hall, Sheffield, the previous evening, and after singing 'The Banks of Allan Water,' in response to an encore, fainted as she left the platform, dying at her hotel next morning, without regaining consciousness. Mme. Patey possessed 'a magnificent contralto… produced with marvellous art… the real contralto, such as one admired formerly in Mesdames Pisaroni, Brambilla, and Alboni' (L'Art Musical).
13A. C.
15(2) JOHN GEORGE (b. Stonehouse, Devonshire, 1835; d. Falmouth, Dec. 4, 1901), husband of the above, son of a clergyman, was educated for medicine, but abandoned it for music. His voice was a baritone; he studied at Paris and Milan, made his first appearance, Oct. 11, 1858, at Drury Lane, as Plunkett, in an English version of 'Martha,' and sang for several seasons in English opera at Covent Garden and Her Majesty's, creating parts in 'Robin Hood' (Oct. 10, 1860), 'La Reine Topaze' (Dec. 26, 1860), 'Puritan's Daughter' (Nov. 30, 1861), 'Lily of Killarney' (Feb. 8, 1862), etc. He also sang in Italian opera at the Lyceum in 1861, and was frequently heard in oratorio and concerts. He accompanied his wife on her American and Australian tours. He retired in 1888, and entered into partnership with Willis as a music-publisher.
17A. C.
19PATIÑO, CARLOS (17th cent.), Spanish composer, first heard of in 1632, when he received a sum of money from John IV. of Portugal. In the following year (in which another grant was made to him by John IV.) he was appointed to the Chapel Royal, as assistant director under Matias Romero. He is said to have died about 1683; but this is improbable, seeing that the Benedictus for the funeral of Philip II. (1599) is attributed to him. His works include incidental music to plays and church compositions. MSS. exist at Madrid (Bibl. Municipal, Benedictus; Bibl. Nac., 4 choruses from plays (?), 4 v.; also in Pizarro MS., M. 1262; Saragossa, Catedral de N.S. del Pilar (villancicos for Christmas and Epiphany); Seville (Letania, 8 v.); Berlin (villancico, 3 v.). Eslava printed a Mass for 8 v. in two choirs.
21J. B. T.
23PATON, MARY ANNE (b. Edinburgh, Oct. 1802; d. Bulcliffe Hall, Chapelthorpe, July 21, 1864), daughter of George Paton, writing-master in the High School of Edinburgh. From a very early age she manifested a capacity for music, and when little more than 4 years old learned to play the harp, piano-forte and violin. She came, indeed, of a musical family; her father was a violinist, and a great-uncle, Walter Nicoll, was instrumental in founding the Aberdeen Musical Society in 1748. In 1810 Miss Paton appeared at concerts in Edinburgh, singing, reciting and playing—among other pieces, Viotti's Concerto in G. She also published several compositions. In 1811 the family removed to London, and during the next three seasons she sang at private concerts, and annually at a public concert of her own. In 1814 she was withdrawn from public life for the purpose of completing her education. In 1820 she reappeared and sang at the Bath concerts with success, and in 1821 at various other places. On Aug. 3, 1822,
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