RIGIDSKY

‘The Sentry Fugue’s’ source, like a centrifugal force, is a dynamic military composer called Rigidsky.
He stands to attention conducting his own scores with military precision, resulting in A Major influence on his peers.
At the end of his concerts, he salutes the audience’s cheers before he marches off and disappears.
‘A Man Hoovers’—Rigidsky’s popular rhapsody—alludes to the vacuum he felt when not on military manoeuvres.
‘Perfect Pitch Battle,’ for a triangle and a rattle, shows both his composure on the battlefield and in the field of music, his skill as a composer.
‘A Major Blow,’ played on the trumpet, was inspired by the time he struck an officer following a dispute over a crumpet.
‘Orders of the Day,’ a series of piano sonatas, show he’s in total command.
Rigidsky always believed that actions speak louder than words.
Especially, as he can attest, the actions of a full-scale symphony orchestra.
His controversial treatment of Handel’s Water Music resulted in the drowning of scores of bagpipe players, while it proved his fearlessly ambitious nature.
‘I Don’t Want to B flat,’ (in B flat) is a musical interpretation of a punctured tyre’s existence played on various flutes and recorders.
‘Hello, Cello,’ is a cello concerto based on the life of the late cellist, Igor Botweak—well known for his bizarre greeting of musical instruments, which he believed were living beings entitled, like the musicians who played them , to comfortable seating.
‘Tone E, Blare,’ in E flat, contains the longest sustained trumpet blast on record, and is intended as a reproach of former PM, Tony Blair.
In his private life, as on the podium, Rigidsky conducts himself well as far as anyone can tell.
In terms of musical greatness, it’s hard to judge where Rigidsky ranks.
Whereas in the army, he’s a Captain.