A Stylistic Analysis of Tom Flaherty’s (b. 1950) Works for Clarinet

Abstract

Composer Tom Flaherty (b. 1950) received a 2016 Grammy award nomination for his piece Airdancing for Toy Piano, Piano and Electronics (2013) in the category of Best Chamber Music/Small Ensemble Performance. He has also received numerous grants, prizes, awards, and residencies from organizations including the National Endowment for the Arts, the National Endowment for the Humanities, and the American Music Center. His most recognized work for clarinet is Three Pieces for Clarinet (1982), which won the Delius Composition Contest in 1985 and is included on Eric Mandat’s 1991 album, The Extended Clarinet. Even though Flaherty has received recognition for Three Pieces, his clarinet works as a whole are rarely performed today. His two works for clarinet and piano, Diversion (1985) and Scherzo (1995), remain unknown in the clarinet repertoire. Furthermore, Diversion has been available only in manuscript. Because very little information about Flaherty and his works for clarinet exists, this dissertation provides a stylistic analysis of Three Pieces, Diversion, and Scherzo, and discusses the performance implications of that analysis. Also included in the dissertation is a performance edition of Diversion and the transcription of my interview with the composer. Flaherty’s compositions for clarinet are technically and musically demanding. One of the most challenging aspects of these works is the way Flaherty manipulates pulse. Rhythmic complexity also tends to obscure the listener’s perception of steady pulse and metrical consistency. In each of these works for clarinet, three compositional elements work together to clarify form: melodic contour, intervallic emphasis, and rhythmic devices. This analysis identifies significant musical features that impact form and provides a methodological approach for musical interpretation. It also provides musicians with useful tools to perform these works with musical conviction, which in turn may bring recognition to Flaherty’s lesser-known works, hopefully making them a part of standard contemporary clarinet repertoire.