sonata for piano (1979)
sonata for piano (1979)
Fatše La Heso
Michael Moerane’s orchestral tone poem Fatše La Heso
Fatše La Heso
Michael Moerane’s orchestral tone poem Fatše La Heso
che
che
forbidden wedding II
This recording is an enhanced sibelius MIDI file representing the written out score of the work.
At the end of the written out score the performer is asked to carry on playing and possibly improvising over the gospel swing low. (see recording forbidden wedding II – “coda”)
forbidden wedding II “coda”
This live recording is not a part of the written out score
In bar 682 the gospel swing low appears, written out as a ‘skeleton’ leadsheet. At the end of the score in bar 693 it says ‘gospel repeat ad lib’. This live recording could be a kind of suggestion to the performer for a realization of this ‘gospel repeat ad lib’, a possible ‘coda’ / improvisation part after the end of the written score.
paternoster 1 in g major
paternoster 2 in d major
paternoster 3
from bach to the beatles
missa gratias per antonius 1 introitus
missa gratias per antonius 2 pater noster
missa gratias per antonius 3 kyrie
missa gratias per antonius 4 kyrie b
missa gratias per antonius 5 kyrie c
missa gratias per antonius 6 pater noster II
missa gratias per antonius 7 pater noster IIb
missa gratias per antonius 8 psalm
missa gratias per antonius 9 psalm b
missa gratias per antonius 10 gloria
missa gratias per antonius 11 amazing grace a cappella
missa gratias per antonius 12 variations pour une
missa gratias per antonius 13 variations b
missa gratias per antonius 14 pater noster III
missa gratias per antonius 15 agnus dei
missa gratias per antonius 16 pater noster IV to ite mitta est
missa gratias per antonius 17 repeat introitus
gaia – the living earth (piano version) I – III the sacred earth and the stars
gaia – the living earth (piano version) IV earth’s family I
gaia – the living earth (piano version) V he does not care
gaia – the living earth (piano version) VI we are all one breath
gaia – the living earth (piano version) VII earth’s family II
gaia – the living earth (piano version) VIII the snake who eats his own tail
gaia – the living earth (piano version) IX we are all connected
song (no. 2 of four piano pieces)
song (no. 2 of four piano pieces)
nocturne (no. 3 of four piano pieces)
nocturne (no. 3 of four piano pieces)
hymn (no. 4 of four piano pieces)
hymn (no. 4 of four piano pieces)
four piano pieces
four romantic piano pieces)
homage to mahler (no. 1 of four romantic piano pieces)
ode to a lost friend (no. 2 of four romantic piano pieces)
serenade for the beloved (no. 3 of four romantic piano pieces)
elegy (no. 4 of four romantic piano pieces)
chaconne (no. 1 of four piano pieces)
homage to bach
i’m dreaming of a white christmas
twelve songs for viola and piano
suite no. 6 in f major (from six baroque suites) 1. prelude-allemande
suite no. 6 in f major (from six baroque suites) 2. minuets
suite no. 6 in f major (from six baroque suites) 3. sarabande
suite no. 6 in f major (from six baroque suites) 4. ground bass
suite no. 5 in c major (from six baroque suites) 1. prelude-allemande
suite no. 5 in c major (from six baroque suites) 2. minuets
suite no. 5 in c major (from six baroque suites) 3. sarabande
suite no. 4 in a minor (from six baroque suites) 1. prelude-allemande
suite no. 4 in a minor (from six baroque suites) 2. courante
suite no. 4 in a minor (from six baroque suites) 3. minuets I, II & III
suite no. 4 in a minor (from six baroque suites) 4. gigue I & II
suite no. 4 in a minor (from six baroque suites) 5. sarabande
suite no. 3 in e minor (from six baroque suites)
suite no. 3 in e minor (from six baroque suites) 1. prelude + 2. allemande
suite no. 3 in e minor (from six baroque suites) 3. courante
suite no. 3 in e minor (from six baroque suites) 4. sarabande
suite no. 3 in e minor (from six baroque suites) 5. gigue
suite no. 3 in e minor (from six baroque suites) 6. ground
suite no. 2 in g major (from six baroque suites)
suite no. 2 in g major (from six baroque suites) 1. prelude
suite no. 2 in g major (from six baroque suites) 2. allemande
suite no. 2 in g major (from six baroque suites) 3. courante
suite no. 2 in g major (from six baroque suites) 4. minuets I, II & III
suite no. 2 in g major (from six baroque suites) 5. sarabande
suite no. 2 in g major (from six baroque suites) 6. gigue
suite no. 2 in g major (from six baroque suites) 7. chorale
suite no. 1 in c major (from six baroque suites)
This recording of suite no1 in c major was done during a concert…
suite no. 1 in c major (from six baroque suites) 1. prelude
suite no. 1 in c major (from six baroque suites) 2. allemande
suite no. 1 in c major (from six baroque suites) 3. courante
suite no. 1 in c major (from six baroque suites) 4. minuets I & II
suite no. 1 in c major (from six baroque suites) 5. sarabande
suite no. 1 in c major (from six baroque suites) 6. gigue
suite no. 1 in c major (from six baroque suites) 7. chorale (the poet speaks)
strange world
masakane – let us build together (1996)
namibia
dance of the rain
tell me where is fancy bred
on the run
now what marion (from friends suite: a touch of clazz 1)
idyll for johan (from friends suite: a touch of clazz I)
on the run
This recording comes from a house concert of close friends of Surendran in Noordhoek, Cape Town.
afrojol
Surendran’s band Channel 18 is performing ‘Afrojol’ at a Lion’s Club function in Windhoek, Namibia, in 1991. The guitarist whose name we don’t know is not a regular member of the band but performed several original compositions by Surendran Reddy as well as Claude Bolling’s ‘picnic suite’ together with Channel 18 on that day.
in the fast lane – called ‘resolutions’
This performance of the work ‘in the fast line’ is part of a SABC New Year’s Eve Show from 1991 (going into 1992). Surendran was musical director of the show and his band Channel was the resident band who accompanied many of the performers.
It could be that the title ‘resolutions’ of this work which later was exclusively called ‘in the fast lane’ might have to do with the special occasion of the performance and resolutions people make for the new year. This is however a pure assumption without any evidence.