These three concertos from C.P.E. Bach’s Berlin years capture the moment when the keyboard concerto stood at the centre of his creative life, yet still moved within the traditional three-movement, ritornello-based design. The G-major and D-minor works, heard on harpsichord, highlight his taste for bold openings, sharply profiled contrasts and a declamatory, almost rhetorical keyboard style, while the slow movements invite discreetly enriched ornamentation in the spirit of mid-18th-century taste. The D-major concerto, entrusted to a Silbermann-type fortepiano and perhaps born as a flute concerto, sings with a lighter, more linear cantabile that the instrument’s clear treble and flexible dynamics bring eloquently to life. Throughout, the soloist’s command of historical sources—embracing Bach’s own cadenzas alongside moments of improvisation—adds an extra charge to tuttis and solo entries, while the period orchestra supports with transparent textures and a keen sense of drama. The result is a poised yet vivid portrait of Bach exploring the expressive and structural possibilities of the emerging classical concerto.