‘I thoroughly enjoy Hewitt's unaffected playing, her easy-going virtuosity, careful dynamics, and frequent grace, as well as power’ (Fanfare, USA)

‘The standard of excellence Angela Hewitt has set in previous installments in her Hyperion Bach cycle continues unabated with the English Suites’ (BBC Music Magazine)

‘Once again, Angela Hewitt proves that she's one of the most penetrating interpreters of Bach on the piano, with a superlative account of the six English Suites. She's an astonishingly supple player, elegant in the French dance elements, brilliant in the Italianate flourishes, and fully in control of the works' complex chromaticisms. Another tour de force from this wonderful player’ (The Independent)

‘Now regarded as one of the most consistently refreshing interpreters of Bach on the modern piano … as ever, Hewitt brings this music to life with remarkably crisp articulation in the brisk contrapuntal movements, deep feeling in the sarabandes and exhilarating joie de vivre in the final gigues’ (The Sunday Times)

‘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)