nemesis wrote:

> Anyway, complex fugues generally employ simple melodic patterns, then, just make
> it sound in 3/4 voices at the same time, inverted, bottom-up and so forth.  One
> of the most complex was written by Beethoven for the end of his Hammerklavier
> piano sonata, the whole work a complete masterpiece.

I tent to wonder at what point this all becomes a theoretical exercise 
rather than a sound that's actually enjoyable to listen to.

Bach's Toccata and Fugue is very nice, but it's frustratingly difficult 
to play it in a way that it sounds impressive to the casual ear. If 
you're a musician learning to play it, it sounds fantastic. If you're 
just listening to it being played... the genius of it doesn't really 
come across all that much.

-- 
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