Gnossienne No.1

"Something that becomes clear through these published compilations is that Satie did not so much reject Romanticism and its exponents like Wagner, but that he rejected certain aspects of it. From his first composition to his last, he rejected the idea of musical development, in the strict definition of this term: the intertwining of different themes in a development section of a sonata form. As a result, his contrapuntal and other works were very short; the "new, modern" Fugues do not extend further than the exposition of the theme(s)"

Hy het glo gesê dat in die algemeen dink hy nie dat dit toelaatbaar is vir die komponis om meer tyd van sy gehoor te vereis as wat absoluut nodig is nie.

Suzanne Valadon, by Auguste Renoir:

Maurice Utrillo


An apocryphal anecdote told by Diego Rivera concerning (Maurice) Utrillo's paternity is related in the unpublished memoirs of one of his American collectors, Ruth Bakwin:

"After Maurice was born to Suzanne Valadon, she went to Renoir, for whom she had modeled nine months previously.

Renoir looked at the baby and said, 'He can't be mine, the color is terrible!'

Next she went to Degas, for whom she had also modeled.

He said, 'He can't be mine, the form is terrible!'

At a cafe, Valadon saw an artist she knew named Miguel Utrillo, to whom she spilled her woes.

The man told her to call the baby Utrillo: 'I would be glad to put my name to the work of either Renoir or Degas!'"