For later Romantic composers like Richard Wagner, Beethoven’s Seventh Symphony was “the apotheosis of the dance,” and certainly sitting still during the Symphony’s dizzying finale is not always easy…

… but for those in the audience at its premiere in 1813, as part of a benefit concert for wounded Bavarian and Austrian soldiers, it was the somber slow movement that proved most attractive. Perhaps audiences read more into it than Beethoven intended, given the occasion, but over time, the slow movements of many symphonies not only got longer, but by the time of Bruckner and Mahler also became the emotional “heart” of the composition, and are sometimes performed as stand-alone concert pieces.

On today’s date in 1999, this “Adagio” by the Italian composer Elisabetta Brusa received its premiere performance by the Virtuosi of Toronto. Brusa was born in 1954 in Milan and studied music at the Milan Conservatory.

“My Adagio,” she writes, “is a freely structured composition in a single movement inspired by well-known masterpieces, such as those by Albinoni, Mahler, and Barber. Independent of a pre-established form, sonata, or suite, it originated as an autonomous composition in the expressive style which have distinguished the numerous Adagios of the past.”

Ludwig van Beethoven (1770 – 1827) — Symphony No. 7 (Berlin Philharmonic; Claudio Abbado, cond.) DG 471 490

Elisabetta Brusa (b. 1954) — Adagio (Ukraine National Symphony; Fabio Mastrangelo, cond.) Naxos 8.555267