alto saxophone, guitar, viola, piano and fixed medium

Based on the dark sideshows of Coney Island’s amusement parks in the early part of the 20th century, The Destinies of Hallucinations is a meditation on virtuosity, freak shows, entertainment, spectacle, business, and the sacrifices one makes to survive in the world. A cycle of aphorisms by the Viennese satirist Karl Kraus (1874-1936) is embedded as a subtext through the work. Part III (“Electrocuting and Elephant”) and IV (“The Blow Off”) are forthcoming.

Table of Contents

Part I:

“The Destinies of Hallucinations”
Scene 1a: “The Man Who Couldn’t Stop Laughing, Part I”
Kraus Aphorism I: “Ein Gourmet Sagte Mir…”
Scene 1b: “The Man Who Couldn’t Stop Laughing, Part II”
Interlude I: “A Queasy Ascent”
Kraus Aphorism II: “Wenn Tiere Gähnen…”
Kraus Aphorism III: “Der Fortschritt…”

Part II:

“Sodom by the Sea or Mildew of an Inner Room of the Eternal Return of the Same”
Interlude II: “Premonition: Morning after the Inferno (with View of Sea) ”
Scene 1: “The Contortionist”
Kraus Aphorism IV: “In Einen Hohlen Kopf…”
Scene 2: “The Fat Man or The Obese Genius”
Interlude III: “Night’s Glimmering City”

Kraus Aphorisms and Translations

Part I:

“Ein Gourmet sagte mir: was die Crême der Gesellschaft anlange, so sei ihm der Abschaum der Menschheit lieber.”
A gourmet once told me, he preferred the scum of the earth to the cream of society.
“Wenn Tiere gähnen, haben sie ein menschliches Gesicht.”
When animals yawn, they have a human face.
“Der Fortschritt macht Portemonnaies aus Menschenhaut.”
Progress makes wallets from human skin.

Part II:

“In einen hohlen Kopf geht viel Wissen.”
Much knowledge fits in a hollow head.

[ii-15]

Performance

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