This album of C.P.E. Bach's first book of Sonatas for Connoisseurs and Amateurs comes with a note about how to listen to it. Because
Colin Tilney is using a clavichord, Bach's preferred instrument, and no engineering adjustments were made when the instrument was recorded, it is suggested that this CD be listened to at a level below what you would normally use "In order to obtain the correct soft and intimate sound of the clavichord." That may be a noble and admirable gesture of respect for period instruments, but the disc should be listened to at normal (or even higher) volume level at least once, so that the details of the music and
Tilney's performance can also be heard. Bach's sonatas are important in the history of keyboard music. These particular sonatas are perfect examples of Bach's innovative way of writing with a wider range and depth of emotion in each movement than earlier keyboard composers. He recognized the expressive possibilities afforded by the clavichord and similar instruments over the harpsichord. The first movement of the Sonata No. 4 is as uplifting as one of J.S. Bach's overture movements. Its second is one of C.P.E.'s thoughtful soliloquies. The finale is happier, with occasional doubtful moments always banished by a reassuring theme.
Tilney is at his best in this music. He makes the most of every possibility of shading, highlighting the recitative nature of the slow movements and adding a sense of importance, usually good-humored, to the faster movements. He brings attention to the touching melancholy at the end of Sonata No. 3 and the deceptive phrases in Sonata No. 5 that begin in the "wrong" key.
Tilney has done a great service to the music of C.P.E. Bach. The remaining five books of Sonaten, freien Fantasien und Rondos für Kenner und Liebhaber from
Tilney are something to look forward to with eagerness.