The history of instrumental music and keyboard music in the baroque period share a similar trajectory whilst retaining distinctive differences. Both genres exhibit an explosion of compositional writing throughout the baroque period with the writing being of an increasingly complex and technically virtuosic nature. They also reflect trends in European aesthetics with compositions that incorporated a cosmopolitan makeup of influences. Key differences in the genres, however, are evident and by looking at the origins of development it becomes clear that keyboard and instrumental music are separated by connections to their initial foundations.
Baroque monody can be viewed as the fertile ground from whence these two genres came into their own independent and highly stylized existence. Instrumental music followed a natural development of vocal music having instruments initially accompany vocal parts and, eventually, replace them. Keyboard music evolved from the basso continuo part that was a development of baroque monody. The improvisational qualities of basso continuo realization shaped the development of keyboard music. Much of the keyboard music in the baroque period was improvised and the skill of improvisation became a highly prized ability amongst keyboardists of the time. The improvisatory origins are reflected in the free flowing, rhapsodic structures of many keyboard compositions in the baroque and the increasing virtuosity of compositions reflected not only the players’ own proficiency but also the abilities of the instruments that were performed on.
Musical forms were dictated by the keyboards qualities and abilities. The keyboards polyphonic capabilities made it an excellent pedagogical tool and also a vehicle for fugues and ricercare. Both instrumental music and keyboard music benefited from the advancements of instrument making. The evolution of the viol family into the string family and the development of increasingly sophisticated keyboard instruments meant that the limits of technical possibilities on the instruments were continually expanding. Composers of the time exploited this facet and pushed the boundaries of virtuosic writing. The toccatas of Froberger and Buxtehude exhibit some of the most adventurous and virtuosic writing of the time.
Keyboard music and instrumental music both reflected the cosmopolitan makeup of music at the time. Imitating the very trendy French dances and the Italian florid virtuosity became the mark of a good composer and the ability to reproduce each style independently was highly regarded. As the baroque period progressed styles became increasingly more integrated and it was common to hear Lutheran hymns set in French dance suite or ornamented with the florid trills. French suites were very common on the keyboard as was imitation of the stile brise from the lute once again the harmonic and polyphonic abilities of the keyboard meant that it was perfectly suited to these styles.
