Greysolon:Hi Amit, I think Cryptic is spot on with Heine.
When it comes to Mendelssohn's music I've always gravitated to his early works which, of course, means Midsummer's Night Dream as well as the string symphonies and chamber music. For a perfume to represent that period of his life it has to be open and crystalline, with a touch of florals and a base note that doesn't bog down the effervescence of the fragrance: "Eau d'Hadrien (Eau de Toilette)" by Annick Goutal.
As Crytic said, Bach is difficult and she probably has the best choice with Amouage. Bach's musical counterpoint can be incredibly complex yet all the voices can be clearly heard. The same is true with the emotional counterpoint. His music is human/heavenly, joyous/contemplative, earthly/noble. Then there's all those dang kids! I mean, for a man of the 18th century he must have smelled OK to have basically worn out two wives!
When it comes to a tour de force of counterpoint in a fragrance my pick would be "34 Boulevard Saint Germain" by Diptyque
Thanks! The word crystalline does well describe Mendelssohn's early works. For me, Mendelssohn represents the one unique middle link between Classicism and Romanticism in Western Classical music. I'd describe his music as sparkling. It can get sometimes a bit sentimental, but usually with child-like naivety (in the good sense), clarity and brightness. Can be energetic, but never heavy muscular. His religious music reveals a beautifully devoted noble soul.