Here is a documentary on THE HORROR OF THE AVANT-GARDE(S) [2023], which was generously put together by filmmaker Karl Brandstater. It's about 9-minutes in length and includes interviews with artistic director Tina Stefanou, conductor Elliott Gyger, pianist Marc Hannaford, percussionist Satoshi Takeishi, and myself. I look forward to sharing the whole concert in the near future.
new album: a thousand tiny mutinies
Today, I’m very happy announce my new album, ‘a thousand tiny mutinies’ for solo contrabass guitar and artefacts, via Nice Music label. It was recorded and mixed with Timothy Harvey, mastered by Magnus Lindberg, cover design by Design Rows, with an accompanying essay by Andrew Goodman. It takes a village! Album release and launch dates in early 2024. Look forward to sharing more about the process in the months to come.
Listen and pre-order here: https://josephfranklin.bandcamp.com/album/049-a-thousand-tiny-mutinies
WATER. RUINS. EVERYTHING. (or, the quaking zone)
Recently, I finished a new work for 7-piece chamber ensemble, commissioned by by the Melbourne Symphony Orchestra and supporting partner TarraWarra Estate.
It will premiere on December 9 at TarraWarra Museum of Art in the Yarra Valley. A second performance will take place on December 10 at Iwaki Auditorium in Southbank as part of the MSO Academy concert.
Tickets are available here:
post-horror
On August 17, a remarkable group of people came together to premiere my latest work, THE HORROR OF THE AVANT-GARDE(S) - concerto for piano, percussion, and large ensemble.
I'm still decompressing from it all but it's safe to say that it went extremely well — 'twas a very magical night.
This event was created in collaboration with artist director Tina Stefanou (The Opera Company) and to my utter surprise, we sold out the premiere and added a second show, which also sold out! The day after the performances, we recorded the work in a studio, which will be released some time in future, more details to come.
To everyone involved, and the audiences who came along, my deepest gratitude for supporting genuinely experimental music, collaborations and new modes of presentation.
The event would not have been possible without funding from Australia Council for the Arts and the University of Melbourne, as well as the support of Alpha60.
Here are some pictures from the evening taken by Sarah Walker. Video coming soon!
world premiere: the horror of the avante-garde(s)
I'm thrilled to share that my latest work, "THE HORROR OF THE AVANT-GARDE(S) — concerto for piano, percussion, and large ensemble," will premiere on August 17 at Alpha60 Chapter House in Melbourne.
The premiere features international guests Marc Hannaford on piano and Satoshi Takeishi on percussion. They will be joined by an incredible ensemble comprising Laila Engle, Luke Carbon, Jasper Ly, Phoebe Green, Anna Pokorny, Callum G'Froerer, Louise Devenish, Benjamin Anderson, Melina van Leeuwen, and Sophia Kirsanova, under the baton of conductor Elliott Gyger. Additionally, I will be performing as part of the ensemble on my new instrument.
The night also features art direction by Tina Stefanou, words by Diego Ramirez, performances by Yumi Umiumare and Young Voices of Melbourne conducted by Mark O’Leary, and culinary horrors by Long Prawn.
Limited tickets and further details can be found here — https://events.humanitix.com/the-horror-of-the-avant-garde-s
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
new string-bass instrument!
Over the past several years, I worked luthier and long-term collaborator Tim Kill, to design and construct a new string bass instrument that embodies my solo bass techniques and concepts. The three-year process involved numerous discussions, designs, prototypes, and building, with an emphasis on utilising locally sourced and recycled materials. The goat skin was procured and prepared by Matt Stonehouse, a drum-maker and musician.
Currently, I am developing music with the new instrument, and will be collaborating with composers and musicians from diverse backgrounds to create, develop, and perform new works. More details to follow.
lost in place at mona foma
'Lost In Place' at Mona Foma 2023.
It was a joy to work with this eclectic group of improvising musicians, Butoh performers and dancers. One main stage performance and two four-hour performances as part of the Old Tafe Sessions in Launceston, lutruwita. A huge thank you to Mona Foma and everyone involved. In particular, to my collaborators: Yumi Umiumare, Takashi Takiguchi, Risa Ray, Eri Mulloolly-Hill Konishi, Emily Bennett, Reuben Lewis and Ronny Ferella. Images by Mona Foma.
you are meadow
I’m very happy to share the recording from the Melbourne Symphony Orchestra premiere of you are meadow, at Deakin Edge, Melbourne (28/1/23).
Program note:
You are meadow, but once you were an open cut in a place no one wants to remember. You are the ashes of a brass band, too few opportunities for the young. The shadow of my instrument. You are lambs eating from morning hands. At night, you are the absence of a dog, of a body, of play. For the women in the haunted hills, mothers of coal and prehistory, they are the stronghold of a working class. You do not sing ecological laments or paint landscapes into notes. You spring in perpetual meadows and linger in the already-past. The concrescence of the orchestra in two parts, only to cut once again.
Photos by Laura Manariti
you are meadow - melbourne symphony orchestra premiere
This Saturday (Jan 28), the Melbourne Symphony Orchestra are premiering a new composition called you are meadow.
Here’s a short description about the work:
you are meadow is a composition that is guided by two discrete—and personal—musical worlds: the world of the colliery band (a tradition of brass bands in working-class coal mining communities in Australia and the UK) and the world of contemporary instrumental music (specifically, my practice as an improvising bassist). The small string section, consisting of nine players in total, interrupts romantic notions of a lush, full and rich orchestral string sound. Rather than fight the inherent imbalances, I decided to split the orchestra into two smaller ensembles: the woodwinds and brass in one section; and piano, harp, percussion and strings in the other. Furthermore, each player in the 25-piece orchestra has their own individual part in an attempt to move beyond standardised sections—highlighting the unique voice that each instrumentalist brings to the collective. After introducing the two ensembles, they merge together in an orchestral tutti, but once this concrescence occurs they are suddenly ripped apart—an unexpected death.
Tickets are sold out, however, the performance will be live streamed here:
dobell: ballet
Storm Approaching Wangi and Other Desires is a new ballet about the life of artist William Dobell, which was premiered at MAP mima, Lake Macquarie, over three nights in November. It was a such pleasure to develop, perform and hang with this brilliant team: choreographers Skip Willcox and Belle Beasley, artist James Drinkwater, dancers Alex Abbot, Allie Graham, Strickland Young, Matthew Mortimer, as well as Vinnie Drinkwater. I'm very grateful to all the collaborators, The Lockup in Newcastle for having me as Artist in Residence, and the team at MAP mima. More to come (fingers crossed). Pics by Ben Adams.
new release: i hold the lion's paw - 3x3
This year, I’ve had the pleasure of working with the exploratory group, I Hold The Lion’s Paw, on a number of projects. 3x3 is a recent release that was recorded and filmed live at Program Records (also the folks who have pressed the vinyl). Here’s a video of a track that features poet Didem Caia, and a link to the album below. There are some exciting brewing with this crew, more to come!
Hyperesthesia (IV) at New Music Studio
I am very much looking forward to to the debut performance of new ensemble that I put together during the height of Melbourne’s lock-downs in 2021. The ensemble features three extraordinary musicians: Duré Dara (percussion), Tom Stewar-Toner (prepared guitar) and Callum G’Froerer (double-bell trumpet/electronics). We will play an hour-long set of musical material that is grounded in my solo bass practice—with the ensemble contributing their diverse approaches to extended instrumental practice and improvisation. It will be presented in an immersive quadraphonic listening environment, with audience members encouraged to sit, lay down, and/or move freely around the space. The concert also features lighting by Giovanna Yate Gonzalez.
Wednesday 14, 7:30pm, Kenneth Myer Auditorium, Southbank. The event is free but registration is required: https://www.eventbrite.com.au/e/new-music-studio-hyperesthesia-iv-tickets-355632726057
Storm Approaching Wangi and Other Desires
‘Storm Approaching Wangi and Other Desires’ is a contemporary ballet about the life and art of Australian painter William Dobell.
Belle Beasley and Skip Willcox (choreography)
James Drinkwater (concept, set design, paint and other desires)
Joseph Franklin (composer, performer)
Alex Abbot, Allie Graham, Strickland Young, Belle Beasley, Matthew Mortimer, Vinne Drinkwater (dancers)
Pippa Budge (curator, MAP mima)
Nov 11–13 at Multi-Arts Pavilion (MAP mima) Lake Macquarie. Tickets and more info available here: https://www.eventbrite.com.au/e/drinkwaters-dobell-ballet-storm-approaching-wangi-and-other-desires-tickets-360213236487
Melbourne Symphony Orchestra commission
I'm very happy to share that I am one of four commissioned composers for the Melbourne Symphony Orchestra's 2022 Cybec Program. I'll be composing an orchestral work with mentorship from Stuart Greenbaum, to be premiered at Melbourne Recital Centre, in January 2023.
Here is a some info about the program and the composers: https://www.mso.com.au/the-blog/cybec-21st-century-australian-composers-program
And a near-impossible-to-answer question that we were each asked: https://www.mso.com.au/the-blog/what-is-the-one-piece-of-music-that-has-influenced-you-throughout-life
More details to come!
AJIRN 2022 conference
I'm excited to present a performance-lecture titled 'Slap(!) and the Death of The Electric Bass: toward a New Instrumentality' at the AJIRN conference this weekend (6–8 May) in Brisbane: https://www.ajirn.com.
The 2022 AJIRN conference theme ‘Space is the place’ invites participants to think about where improvisation occurs, where it might occur, how it interacts with its spaces and places, the movements and migratory patterns of improvising artists, what role locality in any of its forms plays in improvisation studies, and more.
I look forward to attending the many amazing presentations and connecting with new and old friends. If interested, you can attend in-person or online. Tickets: https://www.eventbrite.com/.../australasian-jazz-and...
And here’s a link to the full schedule: https://www.ajirn.com/_files/ugd/5666c4_c241a71785a543dcb7075f3a5445c36a.pdf
(A)Biotic Forces - for solo prepared guitar
Recently, I was commissioned to write a work for the Melbourne Conservatorium of Music’s Guitar Perspectives series, thanks to the generosity of Peter and Rasika Crowley.
Set in three movements, the work is a homage to the waters of Gippsland, in the Gunaikurnai nation. The musical material was initially generated from my solo bass practice, which was transcribed and transposed for the guitar. It was such a pleasure to develop the piece for, and with, guitarist Tom Stewart-Toner—who brought so much to the process. Also a big thanks to Ken Murray for his guidance. The score can be found at the Australian Music Centre.
Filmed and recorded by Leo Dale at WeFo studios.
freedman jazz
Recently, I was named as a finalist for the 2021 Freedman Jazz Fellowship, alongside the brilliant Maria Moles, Flora Carbo and Hillary Geddes. Feeling very grateful to be nominated and look forward to the announcement of the winner in October.
interview & performance
Earlier this year, I was very fortunate to have a piece I wrote Ataraxia performed by two wonderful musicians, Kat Tsyrlin (violin) and Danaë Killian (piano). Here is an an interview where we dicuss the work followed by a video of the performance from the Melbourne Composers’ League concert in April.
reviews
Here are two great reviews from the music box project’s Sydney performances last month:
https://www.classikon.com/ambassador-thoughts/music-box-project-show-new-leadership/
https://www.limelightmagazine.com.au/reviews/shallow-listening-music-box-project/
Photos by Frazer Ruddick
The Music Box Project - Shallow Listening
On May 15 and 16, The Music Box Project will be performing the second iteration of Shallow Listening at Australia Hall in Sydney. It’s a mix of music and madness. Look forward to performing these works again and seeing some friendly Sydney faces - it’s been a long while!
Artfully beguiling, subtly chaotic and deliciously zany, the music box project brings you the Sydney premiere of ‘Shallow Listening’. Five ‘sonic pillars’ of exploratory works by Moya Henderson, Jasmin Wing-Yin Leung, Jaslyn Robertson, Elizabeth Jigalin and Joseph Franklin are woven together with a performative sinew of sound, motion and play. From the clicking of scissors to slow motion singing, cheeky meditations on red, a plethora of toys and the catharsis of an internal dialogue — leave your expectations at the door and join the ensemble for an evening of signature music box madness. Premiered at the 2019 Bendigo International Festival of Experimental Music (BIFEM), this genre-defying performance received the 2020 APRA/AMCOS and AMC Art Music Award for Excellence in Experimental Music.
More details and tickets can be found here - https://www.trybooking.com/events/landing?eid=711505&