Back then, I concluded that the answer was, in short, no: “Not even the formidable Jacobs/Freiburg combo can do what hasn’t been possible to do for the last hundred years. That style, C.P.E. Bach’s music, and specifically Die Auferstehung remains either a superb but closed book to us, or it’s an open book alright, and simply as mediocre as it seems.” We do well to lay the blame for this lack of comprehension at our own doorstep. After all, we might recall that the universally adored Joseph Haydn said that anyone who knew him well would also know how much he owed to C.P.E. Bach. Or that preeminent 18th-century music historian, Charles Burney, who thought that among Prussian composers of his time, only C.P.E. Bach (and now even more obscure Francis/Franz Benda) “dared to have a style of their own,” amidst a sea of mere imitators. Or Mozart himself, who said “He is the father; we are the boys. Those of us who have really learned anything have learnt from him.”

 Confronted, after the performance, with the suggestion that perhaps we would be able to recognize – maybe even genuinely enjoy – the genius of C.P.E. Bach, if only we exposed ourselves a lot more to Gallant music, Hans-Georg Kaiser, the managing director of the Freiburg Baroque Orchestra, hesitatingly nodded with the speed of cold toffee, suggesting that we very well might. Perhaps. If we were to immerse ourselves entirely in the stuff, for a very long time. And then our eyes met as we mutually thought the same thought: Whether this cure might not be worse than the affliction. Perhaps we’ll know more in 300 years’ time.

But now to the matter at hand, a collection of the complete, extensive, exhaustive, possibly exhausting keyboard works of Carl Philipp Emanuel. Lo and behold, Ana-Marija Markovina might therein have brought us the solution to this problem of C-P-Eppreciation! In easily appreciated Bösendorfer Imperial grand piano sound, she delivers here the necessary quantity for full-on immersion in Bach Jr. Still more importantly, her witty, lively, downright magical playing turns a potential musicological chore into hours of easy delight. Perhaps the key to getting the most out of Bach Jr.’s Sonatas, Fantasias, and Pieces is to forget Haydn or Mozart and especially forget C.P.E.’s father, but instead think of Scarlatti sonatas. Suddenly these works become darling miniatures, freed from overwhelming ambition and full of clever little touches that reveal themselves disc by disc by disc, and before you know it, you cannot believe you have listened to 26 (!) discs of C.P.E. Bach’s music. I double-dog-dare you!
Jens F. Laurson, Forbes Magazin, 01.03.2017