The titles of the movements were curiously anticipated by Knecht, more than twenty years earlier, in a 'Portrait musical de la Nature.' [See Knecht, vol. ii. 66a; and Programme Music.]
Beethoven himself (a very rare occurrence) anticipated a part of the storm movement in his Prometheus music (1801), in the 'Introduction' following the overture.
The Symphony was first played in London at a concert given for the benefit of F. Griesbach, the oboe-player. This was before April 14, 1817, the date at which it first appears in the programmes of the Philharmonic Society.
[ G. ]
PATEY, Janet Monach, née Whytock, was born May 1, 1842, in London, her father being a native of Glasgow. She received instruction in singing from Mr. 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 M. Lemmens for a provincial concert tour. In 1866 she was married to Mr. Patey (see below), 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 has sung in several of the principal new works, such as Benedict's 'St. Peter,' Barnett's 'Ancient Mariner,' 'Paradise and the Peri,' and 'Raising of Lazarus,' and in Macfarren's 'St. John the Baptist,' 'Resurrection,' 'Joseph,' and 'Lady of the Lake.' In the part of Blanche of Devan, in the last of these, she developed an amount of dramatic power for which her admirers had not given her credit. In 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 in Paris, in French, in four performances of the 'Messiah,' on the invitation of M. 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 reengaged 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 conservative body to any singer.
Hervoice is a contralto of great power and sweetness, and of extensive compass, and she is equally excellent either in oratorio or ballads.
[ A. C. ]
PATEY, John George, husband of the above, born in 1835, at Stonehouse, Devonshire, son of a clergyman, was educated for medicine, but abandoned it for music. His voice is baritone. He studied at Paris and Milan, made his first appearance Oct. 11, 1858, at Drury Lane, as Plumket, 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, 60), 'La Reine Topaze' (Dec. 26, 60), 'Puritan's Daughter' (Nov. 30, 6l), 'Lily of Killarney' (Feb. 8, 62), etc. He also sang in Italian opera at the Lyceum in 1861, and was frequently heard in oratorio and concerts. Mr. Patey has latterly retired from public singing, and now carries on the business of a music publisher.
[ A. C. ]
PATHÉTIQUE. 'Grande Sonate pathétique pour le Clavecin ou Piano-Forte composée et dediée à Son Altesse le Prince Charles de Lichnowsky par Louis van Beethoven' is the title of Beethoven's 7th Pianoforte Sonata, op. 13. It is in C minor, and has an Introduction (which reappears in the Allegro) in addition to the other three movements. (The Pathétique and the op. 111 are the only PF. Sonatas with Introductions.) It was published by Eder in the Graben, Vienna, in 1799. No clue has been found to its title. M. Nottebohm however has discovered from Beethoven's sketch-books that the Finale was originally written for Strings, and was probably intended for the Finale of the String trio in C minor, Op. 9, No. 3.[1]
[ G. ]
PATON, Mary Anne, daughter of George Paton, master [App. p.745 "writing-master"] in the High School of Edinburgh, where she was born in Oct. 1802; from a very early age manifested a capacity for music, and when little more than four years old learned to play the harp, pianoforte, and violin. Music was hereditary in her family. Her grandmother, when Miss Anne Nicoll, played the violin before the Duke of Cumberland at Huntly, on his way to Culloden, in 1746; and Miss Nicoll's brother Walter, an eminent merchant of Aberdeen, and a good violin player, took part with the Duke of Gordon and other local magnates in founding the Aberdeen Musical Society in 1748, and acted for some time as its secretary. Miss Paton's father was also a violin player, and was renowned in his own neighbourhood as having built an organ. 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, she made her first appearance on the stage at the Haymarket Theatre as Susanna in 'The Marriage of Figaro,' with decided success, and subsequently performed Rosina in 'The Barber of Seville'; Lydia in Perry's 'Morning, Noon, and Night' (her first original part), and Polly in 'The Beggar's Opera.' On Oct. 19, 1822, she appeared at Covent Garden as Polly, and on Dec. 7 fully established herself by her impersonation of Mandane in Arne's 'Artaxerxes.' On July 22 [App. p.745 "July 23"], 1824, she achieved a great success in the part of the heroine in Weber's 'Der
- ↑ 'Neue Beethoveniana,' No. xx, in the 'Musikalisches Wochenblatt.' Jan. 14, 1876.
