All just my personal opinion
Handel: Sonatas for Woodwind Instruments (recorder, oboe, flauto traverso) — Michael Schneider (recorder), Camerata Köln / Frans Brüggen, Bruce Haynes, Hansjürg Lange, Anner Bylsma, Bob van Asperen / Maurice Steger (recorder), Continuo Consort, Naoki Kitaya; for comparison: Andrew Manze (violin), Richard Egarr
Schumann: Liederkreis op.39, Dichterliebe op.48 — comparing recordings with the following artists: Fischer-Dieskau/Moore (Live, 1956), Fischer-Dieskau/Brendel (1986), Goerne/Schneider (1998), Terfel/Martineau (1999), Wunderlich/Giesen (1965), Bostridge/Drake (1997); notes about related recordings
Lieder recordings (Beethoven & Schumann) with Fischer-Dieskau/Moore, Wunderlich/Giesen, Goerne/Schneider, Terfel/Martineau, Bostridge/Drake; Schumann: Piano Quintet op.44, Piano Quartet op.47 — Melnikov/Jerusalem Quartet, Levine/LaSalle Quartet; Webern: 6 Bagatellen, 5 Movements for string quartet, op.5 — Hagen Quartett
People probably regard Bach as being the baroque composer, though in aspects like his preference for traditional polyphonic forms such as fugues and canons (he was a master at writing, even improvising the most complex of fugues) he must have been regarded a rather traditional composer at his time. On the other hand, he did expand into new, previously (almost) unexplored keys on the keyboard and thus may have helped advancing music towards the pre-classical era…
My original intent was to write a blog entry about how we tune our harpsichord (i.e., both what type of tuning we aim for, as well as how we achieve that technically). However, then I realized that I can’t discuss the technicalities of tuning without first defining what I mean with the various terms. People who know how to tune a harpsichord should stop reading here…