The “Clazzical” Organ Works of Surendran Reddy

This study will show the form analysis, harmonic structure and socio-economic understanding of two organ works written by Surendran Reddy (1962-2010) post-apartheid (after 1994). Toccata for Madiba and Mayibuye Suite are both examples of what Reddy refers to as "Clazz" - a blend of Classical Western Art Music traditions with Jazz performance practices in a South African context.
The first piece, Toccata for Madiba, was written towards the end of Nelson Mandela’s (1918-2013) term as president of South Africa, at the peak of his popularity. As this was a celebratory time, one filled with hope, this joyous and boisterous Toccata depicts the general mood and excitement of the country at the time. This piece was written for the University of South Africa (UNISA) International Organ Competition and performed by each of the competitors. The second piece - Mayibuye Suite - is a three-movement work composed in 2001 and also incorporates Clazzical idioms throughout. Both these pieces were composed upon Reddy’s return to South Africa, after spending five years at the Royal College of Music in London.
During apartheid, Reddy and many other musicians of color performed in illegal clubs, called shebeens, in South Africa. Performances at these shebeens featured various genres and dance styles, particularly Mbaqanga, Marabi & Isicathamiya. It was only after a few regular performances at these informal settlements and taking keyboard improvisation classes that Reddy’s musical palette started to broaden, resulting in compositions that were harmonically rich and rhythmically stimulating.
To date there has been little scholarship on South African Clazzical works for the organ. This study will not only serve as a practice guide but will provide contextual information and narrativity for this type of music.

本研究旨在探讨南非裔作曲家苏伦德拉·雷迪（1962-2010）在种族隔离政策终结（1994年之后）创作的两部管弦乐作品的形态分析、和声结构与社会经济背景。其中，《为马迪巴的托卡塔》和《马伊布尤组曲》均为雷迪所谓的“克拉兹”之例——一种在南非语境下融合古典西方艺术音乐传统与爵士乐演奏实践的混合风格。首部作品，《为马迪巴的托卡塔》，创作于纳尔逊·曼德拉（1918-2013）担任南非总统任期末尾，正值其人气巅峰。在这一充满希望和庆祝的氛围中，这部欢快而喧闹的托卡塔生动描绘了当时国家的普遍情绪和兴奋氛围。该作品是为南非大学（UNISA）国际管风琴比赛所作，并由每位参赛者演奏。第二部作品——《马伊布尤组曲》——是一部由三个乐章组成的作品，创作于2001年，其中也融入了克拉兹风格的音乐语汇。这两部作品均是在雷迪从伦敦皇家音乐学院（Royal College of Music）的五年的学习生涯结束后返回南非时所创作的。在种族隔离时期，雷迪和其他许多有色音乐家在南非非法的俱乐部，即所谓的“希比恩”（shebeens）中表演。在这些非正式定居点的定期表演和键盘即兴课程的学习之后，雷迪的音乐色彩开始拓宽，从而创作出和声丰富、节奏感强烈的作品。迄今为止，关于南非管风琴克拉兹音乐的研究寥寥无几。本研究不仅将为实践提供指导，还将提供此类音乐的背景信息和叙事性。