Doubles piccolo, kazoo, whoopee cushion, chancla, and scratch pad
Doubles bass clarinet, kazoo, chancla, and whoopee cushion
Doubles baritone saxophone, kazoo, whoopee cushion, chancla, and scratch pad
Distortion, overdrive, reverb, chorus, delay, faders, octave doubler, e bow
Doubles steel string acoustic, chancla, scratch pad, and whoopee cushion
Doubles chancla, and whoopee cushion (x2)
Note On Doublings
Some movements of Los Caprichos require the use of found or toy percussion instruments.
Chancla: a cheap, plastic flip flop infamous among the children of Latin America
for its powerful sting when swung in anger by disappointed mothers. (Optional
instead of clapping in no. 25).
Whoopee cushion: these should be self-inflating. They may be substituted,
where available, by a toy “fart blaster” like those manufactured based on the
film Despicable Me.
Scratch Pad: a hard surface scratched with a stylus to simulate loud, hard writing.
A piece of sand paper and a nail are recommended.
Kazzoo: your standard toy kazoo found at all fine distributors.
Los Caprichos may be performed in several ways:
1. It may be broken up into ten suites of equal length, assembled thematically by the performers,
or purchased separately from the composer (write for inquiries). Each suite must begin with no. 1, [Frontispiece].
Image projection is optional in this format.
2. It may be performed in its entirety as an evening length piece of music. When performed in this
way, projections of Francisco de Goya’s original etchings must accompany the performance.
High definition images of the original etchings are easily found online. Also, an intermission is
recommended between number 43. El sueño de la razán, and no. 44. Hilan delgado.
3. It may be performed as a theatrical piece. An improvisational pantomime by Daniuel Neer and Becca Ordman
is being created. Details on this version may be obtained from the composer, or from Arcturus. Staged performances
must be titled Goya’s Los Caprichos.
not have had an affair!) are of interest primarily to scholars these days, the themes of Los Caprichos still resonate in contemporary Western society in the first quarter of the 21st century.
whom the work is dedicated), suggested that this was a good idea. As she was, at the time, Great Noise’s managing director, whose job is to keep this romantic dreamer in line, I took this as a sign to go ahead with the project. Los Caprichos, while performable in many ways, ultimately is a complete work. It engages Goya’s originals (and, whenever possible, should be accompanied by Goya’s originals in projection) as themselves, but is also meant as a commentary on our own society, especially that of the United States in 2018, a time where superstition,
hypocrisy, exploitation bordering on class warfare, environmental degradation, the rise of neo-fascist elements in the political mainstream, and other ills threaten us all. This is never done overtly, however. One of the things that attracted me to Goya’s work, besides its amazing weirdness, is his clever use of symbolism and intertextuality to drive home his point. I have tried to utilize these techniques in the music, as much as possible, but I leave it to you, the audience, to determine the field of musical references and draw meaning from them as
they arise. There are many, and they come from many sources.
this path. This whole mess is her fault.