The serialism of Camargo Guarnieri in his Fifth Piano Concerto
DOI:
https://doi.org/10.35699/2317-6377.2009.54555Keywords:
Camargo Guarnieri, Fifth Piano Concerto, Serialism, AtonalismAbstract
Brazilian composer Camargo Guarnieri, who firmly fought against the establishment of serialism in Brazil in the 1950s, later employed atonal structures and serial procedures. This article aims at demonstrating the use of atonalism and serialism in his Fifth Concerto for Piano and Orchestra, through the analysis of its first movement’s exposition. In the analysis, a system of classification for the five sonorities found in the piece was defined using pitchclass set theory (FORTE, 1973) as a reference.
References
ALDWELL, Edward e Carl Schachter, Harmony and Voice Leading. New York: Harcourt Brace Jovanovich, 1989.
FORTE, Allen. The Structure of Atonal Music. New Haven: Yale University Press, 1973.
GUARNIERI, Camargo. Concerto para Piano e Orquestra No.5. Manuscrito do autor. São Paulo: [s.n], 1970. 1 partitura
(75p.). Orquestra.
VERHAALEN, Marion. Camargo Guarnieri: Expressões de uma Vida. Trad. Vera Silvia Camargo Guarnieri. São Paulo: Editora
da Universidade de São Paulo/ Imprensa Oficial, 2001.
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