Who Was the Most Overrated Composer of the 20th Century?

Labeling any composer as the most overrated of the 20th century is a contentious yet intriguing task, as each period and genre had its own figures who pushed the boundaries of musical expression. However, when it comes to distinguishing between groundbreaking pioneers and those whose influence may have been exaggerated, several composers stand out, including Arnold Schoenberg, John Cage, and Pierre Boulez. In this article, we explore the pros and cons of these influential figures to determine who might hold the title of the most overrated composer of the 20th century.

Arnold Schoenberg: A Case of Polarizing Innovation

Arnold Schoenberg is renowned for developing the twelve-tone technique, a method that revolutionized classical music by creating a systematic approach to composition. However, his later works are often criticized for being inaccessible and overly complex. Some critics and music enthusiasts celebrate the innovation and sophistication of Schoenberg's techniques, while others find his innovations impractical and difficult to appreciate.

In his early career, Schoenberg was a prolific and innovative composer, creating better compositions for contemporary tastes. But as his musical language evolved, it became increasingly difficult for the general public and even many professional musicians to engage with his later works. This has led to debates about whether his later works, such as those composed in his later years when he fully embraced atonality and the twelve-tone technique, are indeed overrated.

John Cage: Experimental Genius or Overhyped Art?

John Cage, a pioneer of experimental music, is famous for his avant-garde works, including Music of Changes, a piece that incorporates elements of chance and randomness. These works, while groundbreaking in their approach, often push the boundaries of what can be considered music. Some argue that Cage's influence on modern music is largely instrumental in shaping the way we think about and interact with sound. However, others contend that his work, particularly his prepared piano pieces, is an example of artistic gimmickry or an overemphasis on formality over substance.

Cage's legacy is complex, with his experimental techniques inspiring generations of artists and composers. Yet, the simplicity and accessibility of his earlier works like 4'33' (a piece with no overt sounds) has also been questioned, with some arguing that his later works could be seen as overhyped or even detrimental to the perception of serious musical composition.

Pierre Boulez: Promoting Innovation and Devaluing Others

Pierre Boulez is another figure who stands out in this discussion. Unlike Schoenberg and Cage, Boulez not only championed his own limited ouevre but also actively devalued entire tranches of other composers and works. This makes him a particularly controversial candidate for the title of the most overrated composer of the 20th century.

Boulez was a leading figure in the modernist movement in music, but his influence extended far beyond his own compositions. He was a vocal critic of composers and works that he saw as outdated, often dismissing entire schools of music. His efforts to promote his own works and to cleave to a modernist orthodoxy have led some to question the behind-the-scenes manipulation of music theory and taste. Critics argue that this selective promotion and devaluation of other composers and works skewed the landscape of 20th century music, leading to a misrepresentation of the diversity of musical expression.

Despite his contributions to modern music, Boulez's posturing and promotion of his own views on music have also been criticized. His advocacy for a rigid, mathematical approach to composition has often overshadowed the nuance and complexity of other artistic expressions.

Conclusion: A Matter of Perspective

Ultimately, opinions on who might be considered overrated in the 20th century vary widely. The influence and contributions of Arnold Schoenberg, John Cage, and Pierre Boulez can be appreciated in different ways. While Schoenberg's innovations paved the way for new forms of expression, Cage's experimental works pushed the boundaries of what can be considered music, and Boulez's controversial persona and influence has left a lasting impact on how music is perceived today.

Given the complexity of the issue, one case can be made for choosing Pierre Boulez. His powerful position and the active devaluation of other composers and works suggest that his influence may have led to a misrepresentation of musical expression. However, this view is not universally shared, and it is important to consider the diverse perspectives that shape our understanding of music history.