My friend Chuck just turned me on toÂ the Italian composer Elisabetta Brusa, born in 1954, a product of (and now producer for) the Milan Conservatory.Â Let’s just call her my latest obsession.
Her orchestral works are a) enjoyable, b) playable, and c) extremely programmable.Â For example, the above work is a response to Mendelssohn’sÂ A Midsummer Night’s Dream music. So here’s an idea for a late June program:
BRUSA Messidor â€“ 12′
MOZART Piano Concerto No. 21 (“Elvira Madigan”) â€“ 30′
MENDELSSOHN Overture toÂ A Midsummer Night’s Dream â€“Â 12′
SCHNITTKE (k)ein Sommernachtstraum â€“Â 12′
ALFVÃ‰N Midsommarvaka â€“ 14′
Or take herÂ symphonic poem,Â Florestan, an ode to the pseudonym Schumann bestowed upon the fiery, volubleÂ side of his personality:
BRUSAÂ Florestan â€“ 16′
SCHUMANN, CLARA Piano Concerto in A Minor â€“ 24′
SCHUMANN, ROBERT Symphony No. 3 (“Rhenish”) â€“ 32′
Or perhaps her molto misterioso symphonic poemÂ Merlin:
which would work great on a Halloween program withÂ l’Aprenti sorcier and theÂ Harry Potter suite.
I could imagine herÂ Firelights on a piece with Stravinsky and Respighi:
BRUSA Firelights â€“ 8′
CASELLA Violin Concerto â€“ 32′
STRAVINSKY Fireworks â€“ 5′
RESPIGHI Pini di Roma â€“ 22′
She’s also got two kickass symphonies, the second of which is titledÂ Nittemero, combining the Ancient Greek words for ‘night’ and ‘day’:
BOULANGERÂ D’un matin de printemps â€“ 5′
BARTÃ“K Piano Concerto No. 1 â€“ 24′
BRUSAÂ Nittemero Symphony â€“ 29′
And there’s plenty more in her repertoire. A suite of short character pieces based on Italian fairy tales (Favole) that would pair nicely with Ravel’sÂ Mother GooseÂ Suite; a gorgeous overture-length “Wedding Song” with a great solo cello part which I could imagine on a program with Debussy’sÂ IbÃ©ria or, ooooh yeah, Torke’s “An Italian Straw Hat“;Â and a variety of other singleÂ movement works that could fit just about anywhere you’d like to put them.
Brusa also writes (in English!) coherently and interestingly about music and her own process. Here’s a great essay simply titled “Composing“.
OK conductors, I’ve just given you like five excellent ideas about how to incorporate this brilliant lady’s music into your programs, so please go develop, improve upon, and PROGRAM them, and thanks to Charles who is already doing so!