An analysis of stylistic elements and challenges of technique and improvisation in three late piano works by Surendran Reddy (1962–2010)
This study focuses on the analyses of the stylistic elements and challenges of technique and improvisation in three late piano works by the South African composer Surendran Reddy. Reddy’s personal identity as a crossover artist is apparent in his stylistic approach. The fusion of Western art music, jazz, contemporary and indigenous music from various parts of the world ensued in a distinctive compositional style, which he termed clazz. Three of his shorter late piano compositions, namely African Funk for Felix (2005), Ballad for Thomas (2005) and Toccata for John Roos (2007), contain key characteristics of Reddy’s clazz style. It also represents the composer’s own pianistic virtuosity that renders them challenging to performers. The technical, stylistic and improvisational difficulties in these three works are investigated through a practice-led approach. The methodologies used to study and perform these works were researched by means of two interviews conducted with two professional South African pianists who have performed these works. The technical difficulties in these compositions are delineated and potential solutions to overcome virtuoso passages through fingering suggestions or recommendations for alternative practising methods are examined. The diverse stylistic influences on these works, such as gospel, rock, funk, soul, pop, jazz and various elements of Western art music, are identified, discussed and explored, with emphasis on the influence of South African jazz on Reddy’s conceptualisation of clazz. Prescribed improvisation sections are examined in-depth, and potential performance strategies are devised in the form of notated exercises that would hopefully serve as an accessible methodological approach.
UCTD, Clazz, Piano compositions, Crossover, Improvisation, Jazz, Mbaqanga, Practice-led research, Stylistic analysis, Surendran Reddy (1962-2010), Western art music
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