John Williams’ “Setting The Trap” from HOME ALONE, hands down. From the seamless transition from a diegetic “Carol of the Bells” into the cue, to its nimble handling of multiple themes at one time to its mind-boggling counterpoint throughout, this is a great example of a scene that is pretty much made by the music alone:
In one of his versions of Nostromo (I think the first one, about 4’20”ish) Ennio wrote three melodies, one nostalgic, one pensive and one soaring and plays them out A, A, B, B/C, A/B, A. They work beautifully together.
I am not sure if my example demonstrates counterpoint in the strictest sense, but I'm going to post it anyway. If it is, so much the better. In any case, I think that this is not just my favorite counterpoint piece, but perhaps my favorite of all Ifukube's score cues.
The drums come in first, setting up the rhythm, followed by the strings, reinforcing the rhythm and adding the root chords and melody (Kong's theme). When the choir comes in, they add an additional melody over the top. But the really thrilling part for me occurs at the 0:43 mark, when the original Godzilla theme is introduced by some impossibly deep and powerful basses and brass--taking over the root chords. The whole arrangement works like gangbusters and to this day it gives me goosebumps--every time I hear it. (Not only is it stunning sound quality for 1962, but also it's worth buying a fancy hi-fi just to hear it properly.)
