Francesco Brusa (c. 1700 – after 1768) was known as an organist at the church of San Marco before he began his career as a composer. Towards the end of his life, he was Maestro di Coro at the Incurabili. In Brusa’s collection of church music, the Missa pro Defunctis is his only surviving mass setting, having been written for the Incurabili musicians in 1767.
A Wikipedia link, below, provides some information about Brusa. It is in Italian. Beware of the Google translation to English!
The below information is from the Grove Dictionary of Music and Musicians entry for Francesco Brusa:
(Giovanni) Francesco Brusa (b Venice, c1700; d after 1768)
Because his known works fall into two groups 30 years apart, some writers have postulated the existence of an older and a younger composer of that name; the theory cannot be wholly dismissed on the sparse evidence available. However, the statement that he studied with Monferrato, who died in 1685, appears to be based on an oversight by Fantoni.
Brusa’s name first appears in connection with his four operas of 1724-6 On 22 December 1726 he was made organista del palchetto at St Mark’s, where he was succeeded on 24 July 1740 by Angelo da Cortona. Quadrio, writing a little later, mentioned Brusa as having flourished about 1724, which strengthens the impression that he had stopped composing. In reminiscences set down in the 1760s, Goldoni mentioned a serenade set to music in 1732 by ‘Sig. Francesco Brusa, dilettante in quel tempo, e poi persua disgrazia professore di musica’. This latter particular, which seems to refer to another, younger composer, was reiterated in 1780 by Goldoni’s friend La Borde who, however, ranged Brusa among the earlier masters of the century, ascribing to him the operas of 1724-6; Burney (1789) copied La Borde almost verbatim. Brusa re-emerged as an operatic composer in 1756, as the impresario of his own traveling company (which included his wife, son and two daughters) in 1758 and finally as choirmaster at the Ospedale degli Incurabili from at least 1766 to 1768. He may have been in Barcelona in 1761. Of the extant works, only Le Statue has been critically appraised in modern times (by Della Corte).