‘Hewitt's playing makes Bach's music live, for me, in a way that even the greatest harpsichordists do not’ (The Sunday Times)

‘As close to how I would choose to hear [the music] as I have yet had the pleasure of doing’ (Gramophone)

‘Performances of exemplary clarity and craftsmanship’ (CDReview)

‘All these pieces are great fun! … a peach of a new release from a player whose Bach playing stands comparison with the very best’ (Organists' Review)

‘A highly refreshing and enjoyable recording’ (Classic CD)

«J'ai écouté plusieurs fois ces disques pour m'assurer que je n'étais pas victime d'un excès d'enthousiasme la première fois: à chaque reprise le plaisir n'a fait que croître» (Classics Today France)

‘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)

‘Her playing is absolutely captivating: she decorates the solo part with playful, come-hither ornamentation—twirls, flutters, arabesques—and yet it never disturbs the clear, logical path she forges through the course of each work. Her staccato touch has the force of sprung steel and yet her legato line is a miracle of smoothness and transparency. An absolute joy’ (Metro)

‘The result of their historically informed modern-instrument take on the music is stunning, with crisp rhythms and singing melodic lines’ (Classic FM Magazine)

‘The familiar argument that Bach would have written for a piano if only he had had one is nowhere given more persuasive advocacy than in Hewitt's singing melodic lines, her judicious range of tonal colouring and in her touch, which combines the crispness and full flavour of a fresh apple. Take a bite of any of these concertos, and you will want to make a whole meal of them’ (The Daily Telegraph)