Carl Philipp Emanuel Bach, the son of Johann Sebastian Bach (1685–1750), described his father’s Sonatas, BWV 1014–1019 as among the best works his father ever wrote. He continued to perform them extensively after his father’s death. This is music of implication and inference, the emotions no less real for their apparent lack of specificity. There is pleasure in the paradox: even without a text, the music sings. “They still sound very good and give me much joy, although they date back more than fifty years. They contain some Adagios that could not be written in a more singable manner today”, writes C.P.E. Bach. In these new recordings, some of the greatest exponents of Baroque music in the Nordic countries – violinist Sirkka-Liisa Kaakinen-Pilch and keyboardist Tuija Hakkila – join forces. Tuija Hakkila performs on a replica Gottfried Silbermann fortepiano 1747, made by Andrea Restelli. J.S. Bach played one of Silbermann’s fortepianos in 1747 in Potsdam for Frederick the Great and his court musicians.