The six sonatas CPE Bach published in 1760 stand out for their rich melodic invention and subtle rhythmic manipulations of phrases, along with the composer’s carefully notated embellishments of repeated material. Although clavichordist Miklós Spányi’s outer-movement tempi are not as fast as markings like Vivace and Presto might imply, he more than compensates by way of clean, vocally informed fingerwork: the runs in the A minor’s first movement and the perfectly judged short chords and rests in the Allegro finale of the D minor are cases in point.

What is more, Spányi’s ability to impart a sense of air between the notes allows him to exploit his instrument’s delicate tonal differentiation between registers. In this sense he is able to sustain and give shape to the B flat Sonata’s Tempo di minuetto at an unusually leisurely yet never dragging pace. At first hearing, the casual listener may find the engineering too distant, yet the additional room tone is necessary for the clavichord’s timbre and vibrato capability to register effectively. If you’ve been collecting this important, comprehensive cycle, don’t hesitate. If you haven’t, Vol 21 is no less attractive than its predecessors. Spányi’s annotations address interpretative issues from a well-researched yet practical vantage-point.