The famous baroque flutist Barthold Kuijken wrote a book titled, "The Notation is Not the Music" and this sums up the Baroque perfectly; much of how the piece should go is not included in the score. Ink and paper were an expensive commodity in those days and were not to be wasted with redundancy. Instead, it was assumed that the performers would simply know how the music should go based on the performance practice of the day. Think of baroque scores like a type of lead sheet - the basic information is there, but that's it! The rest is up to you. 
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As you can see from baroque architecture and art above, the era is marked by filigree and ornament. The same is true for music of this time. There was a great emphasis on improvisation - sprezzatura (effortless grace), as they called it - and music is embellished with many notes, chords, and articulations that are not literally notated on the score. We know through treatises and other written works that these embellishments were the expected norm if a musician was considered to have "good taste." In fact, the chordal continuo instruments (harpsichord, lute, or anything else that can play chords) almost entirely improvise their parts! With so much to be improvised in the moment, no two performances are the same. 

Because of this, it takes special training and study to be able to play baroque music in a historically accurate way, training that stretches far beyond learning the instrument itself. All Lyra musicians have undergone years of study in baroque performance practice which enables them to deliver the most authentic performances of this music possible.