Wilhelm Friedemann Bach’s six duos for two unaccompanied flutes unfold as intimate dramas of counterpoint—fugues, canons, and airy gigues—music as cerebral as it is playful, voiced with period timbre. Among the eighteenth century’s works for two unaccompanied flutes, Wilhelm Friedemann Bach’s six duos stand apart for their scale, daring, and concentration: true chamber music in which two lines carry the full weight of harmony, rhetoric, and colour. Here, rigorous imitation becomes a living principle—strict canons that feel like whispered pursuits, fugues that shift from severity to unexpected warmth, and sonata-like designs where ideas return with the force of recognition. Friedemann also relishes contrast: obsessive repetitions that suspend time, expressive slow movements shaped by chromatic inflection and dissonance, and finales that break into buoyant gigues with a sly sense of humour. The “extreme” keys and high-lying writing make virtuosity part of the drama, while the equality of parts turns every movement into a poised conversation. Played on historical traversos, Manuel Granatiero and Eleonora Bišćević bring clarity to the counterpoint and a supple, speaking tone that lets this enigmatic Bach sound both learned and vividly human.