«Whenever I visit Herr Bach, he performs for me three, four or even more of his sonatas, composed at various stages during his life. In each one his personal stamp can easily be recognized the strongest proof that his originality is no mere affectation. At the same time, they manifest his great variety and inexhaustible richness.» This is how the Royal Prussian Kapellmeister, music writer and composer Johann Friedrich Reichardt enthusiastically reported to a friend in 1776 about a visit he had paid to Carl Philipp Emanuel Bach in Hamburg. Musician and author Christian Friedrich Daniel Schubart confirmed this in 1784/85: «The innumerable keyboard compositions by this master all bear the imprint of his extraordinary genius. There is no other so rich in invention, so inexhaustible in new turns of phrase, so perfect in harmony. ... and unyielding towards the fashion of the time.» Bach created a vast oeuvre for keyboard instruments, which also included about 150 keyboard sonatas. It is in these works, above all, that Bach"s contemporaries were able to admire his new melodic and harmonic writing techniques and his inimitable art of nuanced expression and of «touching the heart». Jean Goverts, specialised on music of the 18th century, supplies with a selection from C.P.E. Bach"s six collections of keyboard sonatas a sounding evidence, performed on a fortepiano built after a period model.