‘One of the most convincing Bach pianists at the present time. These performances rate highly in my league table and deserve ‘benchmark’ status’ (BBC Music Magazine)

‘Stunningly beautiful … interpretations that are winning in every way. Not a note is slighted, not a phrase undernourished. She possesses a wonderful command of the music's overall architecture and wastes no time in letting us know what it is all about’ (Fanfare, USA)

‘Hewitt remains today's finest exponent of Bach's keyboard music’ (Gramophone)

‘Hyperion’s good sense in signing Angela Hewitt deserves yet another round of applause. Hot on the heels of her superlative account of the Goldberg Variations comes another disc that proves her status as one of today’s finest Bach interpreters’ (International Piano)

‘This enticing collection once again confirms Angela Hewitt's reputation for playing Bach on the piano’ (The Penguin Guide to Compact Discs)

‘Hewitt's playing radiates joy, wit and profound understanding of the composer's keyboard style. This series is one of the record glories of our age’ (The Sunday Times)

'This powerful follow-up to the same performer's much praised recording of the Bach Partitas confirms her place among the leading exponents of the harpsichord in Britain today' (Early Music Forum of Scotland News, Scotland)» More

‘Her [Hewitt's] success comes from the shaping of each concerto, these are rhythmical, warm interpretations shimmering with boundless energy and skilled virtuosity’ (Cathedral Music)

‘These are warmly involving interpretations of pioneering pieces’ (HMV Choice)

‘Her fingers dance as well as sing: in the outer movements, rhythms are buoyantly sprung, and this communicates itself to the members of the Australian Chamber Orchestra, whose slender string accompaniment in no way lessens their energy, while Hewitt responds by projecting the piano parts with all due attention to Bach's overall texture’ (International Record Review)

‘Here the Fazioli is heard at its exquisite best, its spongey bass chords pumping with clarity, its treble caressing a heart-tuggingly beautiful legato out of the slow movement, while the dainty strings sketch an almost tongue-in-cheek pizzicato in the background. Hewitt's sense of phrase is masterful … the statements have regal import under the authoritative hands of this queen of keyboard playing’ (The Times)

‘Hewitt's performances are brilliantly alive. Her subtle lyricism adds a rich, occasionally dark dimension, possibly not as Bach himself would have envisaged, but always with a deep sense of musical integrity’ (The Scotsman)