David Osmond-Smith – författare

Luciano Berio's Sinfonia (1968) marked a return by the composer to orchestral writing after a gap of six years. This in-depth study demonstrates the central position the work occupies in Berio's output. David Osmond-Smith discusses the way in which Berio used the Bororo myth described in Levi-Strauss's Le cru et le cuit as a framework for Sinfonia. This is one of many influences in the work, which also include Joyce's 'Sirens' chapter from Ulysses, Beckett's The Unnameable and the scherzo from Mahler's 2nd Symphony. The listener who takes refuge in the score of Sinfonia, argues Osmond-Smith, finds there a maze of allusions to things beyond the score. It is some of those allusions that this book seeks to illuminate.

Luciano Berio''s Sinfonia (1968) marked a return by the composer to orchestral writing after a gap of six years. This in-depth study demonstrates the central position the work occupies in Berio''s output. David Osmond-Smith discusses the way in which Berio used the Bororo myth described in Levi-Strauss''s Le cru et le cuit as a framework for Sinfonia. This is one of many influences in the work, which also include Joyce''s ''Sirens'' chapter from Ulysses, Beckett''s The Unnameable and the scherzo from Mahler''s 2nd Symphony. The listener who takes refuge in the score of Sinfonia, argues Osmond-Smith, finds there a maze of allusions to things beyond the score. It is some of those allusions that this book seeks to illuminate.

Luciano Berio''s Sinfonia (1968) marked a return by the composer to orchestral writing after a gap of six years. This in-depth study demonstrates the central position the work occupies in Berio''s output. David Osmond-Smith discusses the way in which Berio used the Bororo myth described in Levi-Strauss''s Le cru et le cuit as a framework for Sinfonia. This is one of many influences in the work, which also include Joyce''s ''Sirens'' chapter from Ulysses, Beckett''s The Unnameable and the scherzo from Mahler''s 2nd Symphony. The listener who takes refuge in the score of Sinfonia, argues Osmond-Smith, finds there a maze of allusions to things beyond the score. It is some of those allusions that this book seeks to illuminate.