What is the piece of music which displays the most genious?

[contrapunctus]

I would like to know know what yall think displays the most genious. This is not neccesarily your favorite. My choice is The "Goldberg" Variations by Bach, BMV 988.

[Nightscape]

Off the top of my head....

Bartok - Music for Strings, Percussion, and Celesta

An enormous amount of analytical depth to be found here.

[Derek]

Passacaglia and Fugue in C minor BsomethingV 582 for Organ....oops! its a favorite as well

::edit:: by Johann Sebastian Bach.

[musicsdarkangel]

Rach 3 and Rhapsody on a theme.

[apion]

I would like to know know what yall think displays the most genious. This is not neccesarily your favorite. My choice is The "Goldberg" Variations by Bach, BMV 988.

Goldberg Vars was my first choice; runner-ups include Hammerklavier, Brahms PCs 1 and 2, and Brahms Handel Variations.

[quantum]

Scriabin Sonata No.5

[steinwayguy]

This is a really stupid thread.

[mikeyg]

Bach Minuet in G.

[bernhard]

Bach Minuet in G.

Which was actually written by Christian Petzold.

[mikeyg]

Well, I was kidding...

But really, i think The Art of the Fugue is the ost genius.

[Nightscape]

I find the word "genious" a little ironic.

[JamesS]

This is a really stupid thread.

Quite. Going by the generally small range of music discussed I think there are very few if any people on this forum who know enough music to actually give a convincing answer to this thread. 

[Belgedin]

Bach's Art of Fugue

[raffyplayspiano]

Quote "I find the word "genious" a little ironic."

hahaha,
man, couldn't have said it better!
raffy

[JCarey]

I must say, that from my studies and analysis of Sorabji's Opus Clavicembalisticum, there is more genius in that piece than just about any I've ever seen/heard. In order to understand, you need the sheetmusic, and you need to study it, and see how he uses themes and develops them. Sometimes you'll have movements where he uses themes that were introduced 11 movements prior to them.

Then, the fugues contain such complexity, that only a true genius could be able to assemble them in such a way that they would not only remain possible, but pleasing to listen to as well, if a bit monotonous. And the ending is incredibly exciting, especially when you listen past the fake dissonances and random notes that Madge adds.

The piece starts with the main theme of the entire piece being introduced. E, B, F#, G#, A, F, C, Ab, etc.. Then, the Eb major/D# Minor theme comes in, and then a similar theme (A, Bb, B -hold- Bb, Ab, G, A) is introduced (which sounds remarkably like Gregorian chant), as rapid 5:4 runs on the left hand serve as an accompaniment. This theme is important to remember as well, because it too shows up in various movements. Then, after a barrage of notes soar up and plummet down the keyboard, the previous theme returns once again. Then, the G Major Presto comes in, in a wild staccatto frenzy, then runs up and back down the piano. After this, there is an eerie, ominous reflection on the introduction, and the movement ends with quiet pianissimo chords, and segways into the Preludio-Corale.

In the Preludio-Corale, you can hear the themes from the first movement return, and the theme from the first fugue is introduced.

The fantasia movement is spectacular, using themes from the first movement, as well as the first phrase of the subject and the countersubject of the first fugue. In fact, the melody used in the explosive finale of this movement is, indeed, the countersubject of the Fuga I, and, if you listen closely, at the very beginning of this movement, you can hear the "melody" of the Fuga II, which comes directly after this movement.

In the variation movements, the variations are incredibly original, sometimes to the point of dissolving the theme into the dense textures Sorabji uses and nearly making it inaudible! Sorabji's chord progressions, as usual, are somewhat unorthodox, yet seem to make complete sense. The Cadenzas are very exciting. The Toccata is pleasing to listen to, in its frenzy of virtuosity, yet it is ingenius how it melts into the exquisite Adagio, which provides a very contrasting mood from the previous movement, and makes Sorabji's genius all the more apparent. The ending of the Adagio is absolutely chilling as is the very end of the Coda-Stretta, which ends in catastrophe and anguish.

Convinced?

[pseudopianist]

Quite obvious... Kunst Der Fuge!