In the era of Viennese classicism, polyphony finds itself in a new musical style. It has had a significant impact on the polyphonic themes that transcend the equivalence of voices. Polyphonic forms lose their autonomy and are most often incorporated as polyphonic episodes into compositions. The new aspects of polyphony are connected with the strengthening and deepening of the expressive character of the main theme, with the counterpoint connection of the main themes of the sonata form, with the final role of fugue in variations, symphony and oratorio.
Beethoven’s work completes the classical period in the history of music and the history of polyphony. But it is the discovery of new paths in polyphony. Beethoven’s creativity is connected with the new quality of the style: he has an innovative interpretation of polyphonic techniques and musical forms, primarily related to the dramatic understanding of polyphony.
1) Fugato from “Funeral March” Symphony No.3 – Bernstein – Wiener Philarmoniker
2) Fugato from “Finale” Symphony No. 3 – Bernstein – Wiener Philarmoniker
3) Fugato from First movement “Allegro ma non troppo” – Klemperer
4) Fugato from Fourth movement – Symphony No.9 – Baremboim – West-Eastern Divan Orchestra
5) Fugato from Fourth movement – Symphony No.9 – Baremboim – West-Eastern Divan Orchestra
6) Fugato from Second movement “Allegretto” – Symphony No. 7 – Thielemann – Wiener Philarmoniker
7) Fugato from Third movement “Allegro” – Symphony No. 5 – Bernstein – Wiener Philarmoniker
