The 2024 Music World In Review
As 2024 comes to a close, and as I am already busy preparing a new year that will be filled with exciting projects and news I will share soon, I reflect now on what 2024 meant to the classical music world. I especially wanted to share some of the things that made me think and listen more closely.
2024 was the year of several important musical “anniversaries”. While I will not delve into all of them, here are those that marked me the most: the bicentennial of the completion and premiere of Beethoven’s 9th Symphony; the centennial of both the deaths of Gabriel Fauré and Ferruccio Busoni; and the year that saw us lose one of the greatest composers, arrangers, and producers of the 20th century, the inimitable Quincy Jones (who is the only person on this list that I had the honor of meeting in person).
As you may know, Beethoven plays a big role in my life. But I think that, whether we know it fully or not, Beethoven has been a presence in the lives of most people on Earth. Hasn’t nearly everyone heard his music, if not consciously, at least in passing? His 9th Symphony with its incredibly famous Ode to Joy stands out, of course, but we can also say that his Moonlight Sonata (first movement), his Letter to Elise, the opening to his 5th Symphony, the Allegretto from his 7th Symphony, if nothing else, are pop-culturally significant works that everyone has heard, if not in whole, at least in parts. And yet, how many of us actually have taken the time to go deeper into his music, even those above-mentioned works, with our full focus and attention? The joys of listening to great music this way are multiplied when we give it our all, and I hope that you will take this perhaps quieter moment in-between the years, to take a dive into some of the music I am recommending today.
Beethoven’s Symphony No. 9 in D minor, Op. 125, stands as a monumental achievement, not just within his own output, but within the entire history of Western music. Completed 200 years ago in 1824, not quite three years before his death, it represents an absolute culmination of Beethoven’s symphonic vision and a radical departure from established norms, including his very own. More than just a symphony, it is a powerful statement of humanistic ideals, pushing the boundaries of the genre and forever altering its potential for expression and profound meaning. Its premiere on May 7th, 1824 marked a pivotal moment in music history that we are still coming to terms with today.
The Ninth Symphony is characterized by its unprecedented scope, both in length and emotional depth. The first three movements, while rooted in traditional symphonic forms, are imbued with a revolutionary spirit—a dramatic intensity and a vastness of conception that far surpass his earlier works. The driving rhythms, powerful dynamic contrasts, and complex thematic developments create a sense of struggle and ultimately, triumph (this was Beethoven’s general modus operandi). However, it is the fourth movement, with its groundbreaking use of voices over the text of Friedrich Schiller’s “Ode to Joy,” that truly sets the work apart.
The integration of chorus and vocal soloists into a symphony was an entirely novel concept, forever changing the landscape of orchestral music. Beethoven's decision to use Schiller's text, with its themes of universal brotherhood and the pursuit of joy, transforms the symphony into a powerful affirmation of human potential and a vision of a more just and harmonious world. This unprecedented synthesis of instrumental and vocal forces elevates the symphony beyond the realm of pure instrumental music, imbuing it with a deeply humanistic and philosophical message that people around the world have adopted as their own.
Of course, some of the purposes it has been applied to don’t properly fit its message: Hitler made use of it several times between the Berlin Olympics of 1936 and throughout the War. Today, the Ode to Joy (in a wordless arrangement) serves as the official anthem of the European Union. It was also used by Leonard Bernstein to celebrate the fall of the Berlin Wall, at a Christmas concert in 1989. But even that, while its purpose is to bring unity, limits the actual universal, apolitical power of this work.
Daniel Baremboim wrote eloquently about this in an article he published in the New York Times on the May 7th anniversary of its premiere. Beethoven’s interest was to unite humanity over and above politics, instead of supporting any specific political vision. His trust and hope were placed in the human heart, not in the people running the world. As stated in Schiller’s text used in the last movement, “All men become brothers.” That is what Beethoven most ardently desired and hoped for humanity’s progress.
Beethoven’s Ninth Symphony is a cultural landmark. It stands as an enduring symbol of Beethoven’s genius and his unwavering belief in the transformative power of art. But it is up to us to keep learning from it, to open up to its musical power and universal message, so that we can continue on our path toward greater peace and “brotherhood”. In the world we are living in, this message is perhaps more potent than ever. Let us hope that we can reach closer to that vision in the coming year.
As for listening recommendations, there are simply so many great versions that it would be impossible for me to make a unique recommendation. I would love to hear, instead, which ones you like!
Gabriel Fauré, who shares with Beethoven the rare and sad distinction of having also lived his last years in deafness, holds a distinctive position among French composers. Born in 1845, his musical style, rooted in refined classicism, subtly pushed boundaries, in a way totally opposite Beethoven’s grand statements. Not known for overt drama, Fauré was a master of nuance, shaping French music with his craftsmanship and personal lyricism. He was an artist of exquisite taste and sensitivity whom we are still discovering to this day, precisely because he never pushed himself in front of the scene. He invites us gently to come to him instead, without any pressure.
Fauré's music is marked by its understated beauty, sophisticated and at times surprising harmonies and ethereal melodies. He prized subtlety over explicit emotion, crafting melodies of poignant beauty from deep inner feeling. While his works may lack the modern novelty of some contemporaries (Debussy, Ravel, Mahler, Stravinsky, Schönberg…) they are imbued with a distinctly "French" sensibility—clarity, elegance, and refinement.
Fauré's diverse output ranges from intimate chamber works to larger choral pieces. A celebrated mélodiste, he integrated text and music beautifully in many songs, as in "Après un rêve" (circa 1870). His serene Requiem, Op. 48 (1888, revised later), contrasts with dramatic expectations. His piano works, which he composed over the course of his long life, like the Nocturnes and Barcarolles, reveal his elegance and harmonic sophistication, even his adventuresomeness.
Fauré was a composer of profound grace and depth as well. His music offers a counterpoint to Romantic turbulence, even though he was clearly influenced by composers such as Schumann and Chopin, inviting listeners into a world of refined expression.
This year, I was impressed by the release of his complete works for piano by my friend, French pianist Lucas Debargue, who recorded them with great passion after deep study of Fauré’s music and life. He also recorded this on a very special piano, a one-of-a-kind conceived and built by the great Stephen Paulello. I highly recommend spending time listening to any part, or all, of the four hours of his piano works, which are revelatory. You can see more about this on YouTube (or on your preferred platform).
Like Fauré, and Beethoven before him, Ferruccio Busoni was a deep admirer of Johann Sebastian Bach’s music. But he took his admiration many steps further, by spending a considerable amount of time studying and transcribing Bach’s works in modern, romantic arrangements for piano, which he published as well as performed extensively. Ferruccio Busoni remains a towering figure in music history, not just as a pianist, but as a multifaceted artist of intellect and ambition. Born in 1866, his career defied boundaries, encompassing a major career as a concert pianist, arranger and composer, frequent conductor, extensive writer on all things musical, and influential teacher. He was a restless explorer, constantly questioning traditions and seeking new paths. And while he was extremely open-minded about the future possibilities of music, supporting the likes of Arnold Schönberg, Edgar Varèse and even cabaret master Kurt Weill, he never condemned the great tradition of music. Busoni was a true musical Renaissance figure, striving to understand music's essence, and to share his passion for it through every medium he had access to.
Busoni's piano playing was legendary for its power, intellect, and almost otherworldly quality. Luckily, there are a few (old sounding) recordings of his that are now more than a century old. He commanded the instrument with authority, using it to express deep emotions and philosophical ideas. While valuing the classics, he also championed new music and created demanding original piano works, such as his monumental Fantasia contrappuntistica (1910) and the massive, 5 grand-movement Piano Concerto. He was a profound thinker whose musical explorations were fueled by insatiable intellectual curiosity.
Among his many compositions stands out the opera Doktor Faust (left unfinished at his death in 1924, but completed by a student and premiered in 1925). It reflects his philosophical and spiritual leanings: he explored themes of magic, the supernatural, and human struggle, creating a unique and exciting musical voice. He pushed musical boundaries by experimenting with avant-garde soundscapes. This opera is rarely produced today, but it remains a powerful masterpiece I recommend anyone to listen to.
Busoni, who also spent time teaching and touring America, was very inspired by the traditional music of the Native Americans, which he used to compose several pieces. This certainly set him apart from most European composers of the time.
Ferruccio Busoni was a composer and musician who defied easy categorization. He was a virtuoso, an innovator, and a visionary whose impact on music is undeniable. Yet, sadly, outside of the music world, few people are truly aware of his masterful contributions to music. I hope you will give a little time to explore his musical identity, both as the brilliant Bach-arranger that he was, and the creative composer we can still be inspired by today.
Here is a short selection of options to listen to:
Busoni at the piano himself, 1922 recordings: Listen Here
Busoni’s Opera, Dokto Faust (Zurich Opera): Watch here
Busoni’s Piano Concerto (Kirill Gerstein): Watch here
Quincy Jones is a true icon of American music, a figure whose career spans nearly seven decades and encompasses virtually every facet of the industry. He was unconcerned by “genre” and followed his passion across any type of music that he felt attracted to, including classical.
Born in Chicago in 1933, his musical journey began in earnest in the vibrant jazz scene of Seattle, where he honed his skills as a trumpeter, arranger, and composer. He quickly rose through the ranks, working with legendary figures like Dizzy Gillespie, Count Basie, and Lionel Hampton, showcasing his prodigious talent for crafting innovative and sophisticated arrangements. But Jones' ambition extended far beyond the jazz world; he was driven to explore a vast range of musical styles, a characteristic that would define his groundbreaking and hugely influential career. In fact, in 1957, he actually moved to Paris to study classical composition with the legendary Nadia Boulanger, as well as with the composer Olivier Messiaen. You can definitely hear these influences in many of his tunes, including Michael Jackson’s Thriller (which would not have been what it was without Quincy’s imprint). Watch it here.
Jones' versatility is perhaps his most remarkable trait. He transitioned seamlessly from jazz to pop, becoming a hugely successful producer, shaping the sound of countless hit records for artists like Frank Sinatra, Aretha Franklin, and, most notably, Michael Jackson. He was the driving force behind Jackson's monumental albums Off the Wall, Thriller, and Bad, which redefined the landscape of popular music and cemented his place as one of the most important producers of all time. Beyond pop, he composed film scores, produced television shows, and remained a tireless champion of diverse musical voices. He’s won numerous Grammy Awards and earned a reputation as a brilliant innovator.
Quincy Jones is also a prominent cultural figure, known for his philanthropic work and his dedication to promoting diversity and education. His life story is one of boundless creativity, a relentless pursuit of excellence, and a commitment to using music as a force for positive change.
I was thrilled to meet him and have a really lovely conversation with him about his love of all things French and Paris, where he had lived, after a performance in 2019.
There are of course other incredible people lost in 2024: the pianist Byron Janis (born 1928), the conductor Seiji Ozawa (born 1935), and the pianist Maurizio Pollini (born 1942). You cannot go wrong if you listen to any recording of theirs.
I wish all of you the best, happiest New Year! And see you soon in 2025!