This volume contrasts C.P.E. Bach’s early B-flat concerto, still rooted in the high Baroque rhetoric of soloist–tutti conflict, with the later C-minor concerto, whose breathless momentum, seamless transitions and heightened expressivity point toward a more “modern” sensibility. Around them stand two sonatinas that recast earlier chamber miniatures and keyboard character pieces as elegant divertimenti for a broader concert public: modest in scale, gently paced, yet full of harmonic surprises and playful shifts between major and minor. Here the keyboard no longer argues with the orchestra, but colours and decorates it, sometimes breaking away into unexpectedly private, almost domestic soliloquies. On the warm-toned tangent piano, Miklós Spányi brings out both the galant grace and the restless intensity of this music, while the period-instrument ensemble provides a flexible, conversational accompaniment that underlines Bach’s originality and the subtle charm of these largely rediscovered scores.