Well, to me it seems that in the last 30 years or so a new trend has etablished regarding the interpretation of baroque music. The so-called "Historical informed performance practise" (HIP) does not belong only to the baroque area, however the trend how to interpret has changed dramatically in that area, so I see it. Only an example: I have a 30 year old recording of Haendels "Messiah" with an big orchestra, oppulent choir, and the interpretation is highly romantic - the ouverture is played very slow, lyrical. Now I have watched a very convincing new performance: a small baroque orchestra with historic instruments, playing almost without vibrato, small choir, playing the piece at A=415Hz. The ouverture was played pretty fast, dotted notes as double-dotted notes, and most important, a VERY groovy, dancing like articulation what accents all quarter notes, divided in strong and weak quarters. This articulation makes the piece very light and lively. To make it short: I really preferred that new approach. Can't say whether it is more or less historical relevant, but I preferred it over the romantic version described above. To me, playing the piano and organ of baroque music, an approach towards that HIP changes the interpretation largely, and as I think, to the better. For instance, to articulate not only more or less legato, instead in rhythm groups according to the rhythm of the piece (and additional according to the certain melody phrase). I would be interested whether this trend influences your approach towards interpretation especially for baroque music?