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 pitch-class set theory (FORTE, 1973) as a reference.
Camargo Guarnieri; Fifth Piano Concerto; serialism; atonalism
