The Barenboim Piano - A Product Of Barenboim's Own Performances?

Some of you may have read my blog last spring announcing the creation of a newly designed piano by the celebrated virtuoso Daniel  Barenboim. As I stated in that blog, if this instrument is accepted by other leading pianists, it could ultimately lead to a  re-examining of the interpretive views of masterpieces of the past; especially, perhaps, the piano music of the late 18th and early 19th centuries.
I had, since writing that blog, been pondering the issue of  the emergence of a new direction of  thinking about the works of, say, Mozart or Schubert, by way of a correspondingly new reaction to their music because of the characteristics of this new piano.
Is this thought on my part due to my reactions to Barenboim's playing  of their music(especially Mozart's) on the present piano?
I say this because of the recordings of Barenboim's Mozart during the past few years.
For me, Barenboim is, at this point in time, the greatest living Mozart performer.  He is the first pianist to have  created  a need for me to want to  possess  an edition of nothing but the slow movements of Mozart's sonatas, and plumb these notes I have known for so many years. To my ears, Barenboim has reached an uncanny level of further discovery of Mozart's language without sullying.
Did Barenboim's ongoing journey in this period of music create the need for him to look into the piano itself?
Could this be the reason for the Barenboim Piano?
I wonder, at times...