First Movement (Allegro ma non troppo, un poco maestoso):
- Homophony: The opening theme begins in a homophonic texture, where the melody is accompanied by chords.
- Polyphony: The movement develops with fugal sections featuring several independent melodic lines.
- Contrapuntal: Throughout the movement, various contrapuntal devices are employed, such as canons and invertible counterpoint.
Second Movement (Molto vivace):
- Scherzo and Trio: The second movement alternates between a lively scherzo section in a homophonic texture with contrasting, more lyrical sections (the trio) featuring a combination of homophony and polyphony.
Third Movement (Adagio molto e cantabile):
- Homophony with orchestral accompaniment: The slow third movement presents a flowing melody primarily in a homophonic texture, supported by the orchestra's accompaniment.
Fourth Movement (Allegro assai):
- Polyphonic fugue: The finale begins with a powerful fugue section in a polyphonic texture.
- Homophony: The choir enters with a homophonic setting of Friedrich Schiller's "Ode to Joy" theme, accompanied by the orchestra.
- Polyphony and homophony: The movement combines polyphonic and homophonic textures as the choir and orchestra interweave their parts, culminating in a grand and majestic sound.
Overall:
Symphony No. 9 showcases Beethoven's mastery of musical texture. The use of homophony, polyphony, and contrapuntal techniques creates a tapestry of sound, from the intricate fugal sections to the jubilant choral finale. The symphony's diverse textures contribute to its richness and emotional impact.