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Bach of course: the Kyrie of the B minor Mass, the six part fugue from the Musical Offering, and Contrapunctus 3 from AoF. Not to mention the B flat major and minor fugues from WTC II, the B major and minor fugues from WTC I and on and on.

 

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Well in the field of counterpoint there's simply no competition. Although this being an internet forum there will no doubt be naysayers.

 

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...
If the talking is just about counterpoint and nothing else (not fugues), then I think that J.S. Bach has competition from the Renaissance masters such as Palestrina, Tallis, Josquin, Victoria and others.

Umm...........
No, not really.

 

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Bach wrote many great fugues. I think he really enjoyed writing fugues and became so good at it.

I think Bach was a mathematician at heart.

 

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I also like the Classical sense of drama Mozart displays in;

^notice how the section at 0:50 is different in feel from the one at 3:00

Missa longa K.262 - Et vitam venturi

^I think the dissonant strettos (18:11, 18:42) are wonderful

Litaniae de venerabili altaris sacramento K.243 - VIII. Pignus futurae gloriae:

^this is thought to be inspired by a Pignus double fugue by M. Haydn, just as K.339/iv was inspired by the Cum sanctis tuis from M. Haydn's C minor requiem. I really want M. Haydn's litanies recorded as I'm eager to know how good his are too.

"The sort of holy music that evokes nostalgia for the ancient past."
"The sort of outdated music that should belong to a museum."

both views are equally valid.

I'll go with option B for all the above.

 

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Sure, but I like how this has "gradations" in terms of mood changes and dynamics, btw:

(13:18, 13:24 and 14:34)

(5:32 and 7:15)

I'll still go with option B. The point is, hammered, these little oblique attacks on Bach can be used to absolutely nuke the composers and works you're continually advocating here. If Bach belongs in a museum, these would be in the basement.