There seems no good reason why in modern performances the pianoforte should not be used for the purpose; if only accompanists can be trained to acquire the necessary delicacy of touch, and can be made to understand that, if they cannot extemporize the necessary polyphony, and so have to play something definitely written for them, it is not a mass of interesting detail which they are to bring to the public ear.
The polyphony of Beethoven was unquestionably influenced by it and, even in his latest sonatas and quartets, may be regarded as its logical outcome.
In the choral numbers of the five masses, and in the oratorios Die Heilige Elisabeth and Christus, the rarity of fugal polyphony acts as a drawback.
The invention of the damper-pedal in the pianoforte epitomizes the difference between polyphony and symphonic art, for it is the earliest device by which sounds are produced and prolonged in a way contrary to the spirit of "real" part-writing.
The pianoforte trios of Haydn are perhaps the only-works of first-rate artistic importance in which there is no doubt that the earlier stages of the new art do not admit of sufficient polyphony to give the instruments fair play.
In the development of instrumental polyphony Haydn's work was almost as important as that of Mozart.