Why did early Classical composers use less counterpoint than Baroque composers?

Early Classical composers shifted away from the complex, polyphonic textures of the Baroque era in favor of a homophonic style, which emphasizes a single, clear melodic line supported by chordal accompaniment. This transition, often associated with the galant style, prioritized clarity, symmetry, and balance over the dense, independent melodic lines characteristic of Baroque counterpoint.12

During the early Classical period (c. 1730–1770), composers largely avoided counterpoint, reserving it primarily for church music, which was then referred to as the "learned style". This move toward homophony was driven by a desire for unified phrases and clear-cut cadences, which were essential for the structural demands of emerging forms like the sonata.1

However, this was not a permanent abandonment. By the late 18th century, composers such as Haydn, Mozart, and Beethoven began reintegrating contrapuntal techniques into their work, using them to add intensity and depth to their compositions while keeping them subservient to the overarching harmonic and tonal design.13