Carl Philip Emmanuel Bach—the fifth child and third son of Johann Sebastian—gets name-checked for standing at the watershed between the Baroque and the Classical periods, as well as for cultivating the empfindsamer (“sensitive”) style that anticipates the Romantics. Haydn, Mozart, and Beethoven profited from C. P. E.’s theoretical writings on keyboard music. That, along with symphonies and concerti, constitutes the tiny lion’s share of his output that occasionally dots our concert calendars today. Leave it to the impassioned scholarship of Leon Botstein to dust off some of his sacred vocal works, namely Heilig Ist Gott (Holy Is God), for chorus, and Die Auferstehung und Himmelfahrt Jesu ( The Resurrection and Ascension of Jesus), one of C. P. E.’s only two oratorios. We’re told to expect “abrupt changes in mood, fluid dynamics, and highly chromatic harmonic writing”—features, appropriately, as Baroque as they are Romantic. —Matthew Gurewitsch