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"Only from pov of timbre"

There you go. But the HIP approach also usually implies original instruments and intonation (much flatter in many but not all contexts than modern intonation), and those two things make a big difference. Especially in the baroque context, the HIP approach also involves study of contemporary sources for things like ornamentation and even improvisation. That's why the concept loses much of its meaning after the early 19th century.
It gets pretty tiresome when people (1) say HIP = no vibrato, which is simplistic and untrue, and (2) endlessly complain about performances with not enough vibrato, blaming the HIP movement.
The only rant that is more tiresome is the one that says modern music was foisted on an unwilling audience by tyrannical critics, and we need to go back to the romantic music that the audience really wants, except for the progressive ones, for whom we can change the name of romantic music to "neoromantic" music.
I've had more than enough of those two rants.

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  Kimber Kable  

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