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Diablerie, v. 1, issue 3, March 1944
Page 20
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20 The redoubtable mr. ginch mcfinch Walt Liebscher It was written all over his puss. Ginch McFinch was a superman. He could fly through the air at will, he could capture a gang of thugs single-handed, and he was the master of any situation - - after he had seen Mr Anthony. Ginch started his long and varied career as a music teacher. His first pupil was so dumb she didn't know the difference between a mop handle and a xylophone. After twelve years of study with Ginch, she was the only girl in the world who could play a mop handle. At thirty-five Ginch wrote his famous symphony, "The Woman in A Flat" and his inimitable choreographic poem, "The Delinquent" or "Revels in A Minor". "Revels in A Minor" consists of three movements, entitled respectively, "Passionata", "Purple Love", and "Veni". Of these three movements, (all well liked), the last is known the world over. In fact, the last movement of this glorious achievement has been known to change history. The movement opens with a rapid crescendo of the french horn. This designates true love. Immediately after an embellished glissando floats in and lubricates your very soul with the oil of its music. Then a spasmodic fugue is heard and the piece gets under way with joyful restraint. Gradually the tempo increases and soon a profusion of pear shaped tones are heard, emmitting from the drum base, acommpanied by a constant rolling movement of tom-toms. The oboe joins in the fracas and carries on a staccato conversation with the celeste. This designates true love. Meanwhile the slip horn is engaged in a cherubic fortissimo play 'moderato assai', which also designates true love. As too much true love at one time is exasperating, the pianist performs a fantastic trickle on the keys and the first half of the movement ends. After intermission the conductor comes out and raps on the podium with his stick. This designates true love & also assembles the musicians, who, having rested, are ready to pour our some more amour, or vice versa, if they can find versa. As the conductor's stick reaches zenith the second movement begins. A spasmodic allegreto pierces the silent hall followed immediately by a recalcitrant bolero which gradually blends into a legeto movement. This designates true love and makes the piece last longer. Suddenly the movement becomes diabolical and the players anr forced to manipulate their instruments to the utmost. Gradually the speed of the movement increases and frenzied snorts blend into a cacaphony of pulse-stirring sounds. With a sudden burst of true love the piece ends. The musicians put thier instruments away and the lovers of music wend their way homeward, exhausted, but happy with the thoughts of true love uppermost in their minds. /
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20 The redoubtable mr. ginch mcfinch Walt Liebscher It was written all over his puss. Ginch McFinch was a superman. He could fly through the air at will, he could capture a gang of thugs single-handed, and he was the master of any situation - - after he had seen Mr Anthony. Ginch started his long and varied career as a music teacher. His first pupil was so dumb she didn't know the difference between a mop handle and a xylophone. After twelve years of study with Ginch, she was the only girl in the world who could play a mop handle. At thirty-five Ginch wrote his famous symphony, "The Woman in A Flat" and his inimitable choreographic poem, "The Delinquent" or "Revels in A Minor". "Revels in A Minor" consists of three movements, entitled respectively, "Passionata", "Purple Love", and "Veni". Of these three movements, (all well liked), the last is known the world over. In fact, the last movement of this glorious achievement has been known to change history. The movement opens with a rapid crescendo of the french horn. This designates true love. Immediately after an embellished glissando floats in and lubricates your very soul with the oil of its music. Then a spasmodic fugue is heard and the piece gets under way with joyful restraint. Gradually the tempo increases and soon a profusion of pear shaped tones are heard, emmitting from the drum base, acommpanied by a constant rolling movement of tom-toms. The oboe joins in the fracas and carries on a staccato conversation with the celeste. This designates true love. Meanwhile the slip horn is engaged in a cherubic fortissimo play 'moderato assai', which also designates true love. As too much true love at one time is exasperating, the pianist performs a fantastic trickle on the keys and the first half of the movement ends. After intermission the conductor comes out and raps on the podium with his stick. This designates true love & also assembles the musicians, who, having rested, are ready to pour our some more amour, or vice versa, if they can find versa. As the conductor's stick reaches zenith the second movement begins. A spasmodic allegreto pierces the silent hall followed immediately by a recalcitrant bolero which gradually blends into a legeto movement. This designates true love and makes the piece last longer. Suddenly the movement becomes diabolical and the players anr forced to manipulate their instruments to the utmost. Gradually the speed of the movement increases and frenzied snorts blend into a cacaphony of pulse-stirring sounds. With a sudden burst of true love the piece ends. The musicians put thier instruments away and the lovers of music wend their way homeward, exhausted, but happy with the thoughts of true love uppermost in their minds. /
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