Because I was a still very young, I chafed at the appropriation of harpsichord music by pianists—especially since I was studying harpsichord—and it seemed rather obvious to me that one ought to perform music on the instrument for which it was composed. This was the bedrock assumption of the “original instrument” school of “authentic” performance practice, which was just beginning to go mainstream at the time and which today dominates the field of Baroque music performance. What I’ve learned since then, however, is that the whole subject is far more complex than it first seemed to me.