Carl Philipp Emanuel, born 300 years ago, was the second son of JS Bach and a fascinating composer who moved from the baroque towards later 18th-century styles. The transformation is well captured here: the choral and solo Magnificat of 1749 is impressive but slightly four-square, whereas the D major symphony of 1780 is wackily surprising and original, its offbeat single lines leaving the listener totally disorientated at the start. The double-choir Heilig is a noble, uplifting hymn of the Enlightenment. Hans-Christoph Rademann finds eloquence in the choral music and lets the Berlin Akademie rip with edgy tone in the symphony.