‘If you aren’t hooked by her Book One C major prelude—noble yet nonchalant, gently flecked with rubato—rush to a doctor immediately. And on she proceeds, track after track, illuminating the music with great sensitivity and interpretative freedom. In the ten years since 1999, Hewitt’s feeling for Bach has widened. The touch of her fingers is lighter now; her pulse is more elastic. The piano, too, has changed. Now it’s a Fazioli, luminous and microscopically subtle. With Hyperion’s recording, even its reverberations are a joy; witness those lingering last notes, crowned with a halo. Fugal counterpoint, dry on the page, dances before us, multicoloured … the 2009 Hewitt—protean, humane, modern but respectful, beautifully recorded—is the version to live with. It would even sound good, I’m sure, on the BBC’s desert island’ (The Times)

‘Her best Bach yet … not everyone can improve on the best, but it looks as if Angela Hewitt might have done just that … this is a defining moment in the performance history of the '48' … Hewitt's second thoughts, enhanced by technically outstanding recording, hold me totally enthralled’ (BBC Music Magazine)

'Performed with a graceful technique and a pellucid tone, Crossland's interpretations belong among the finest of recent years and perhaps among the finest of all time. Signum Classics' sound is cool, clear, and deep with a wonderful sense of space' (AllMusic, USA)» More

'At its best, Crossland’s Bach is intimately scaled and sensitively nuanced, abetted by engineering that reproduces her dulcet sonority in the loveliest light' (Gramophone)

‘The Canadian pianist may not regard herself as a Bach specialist, but her brilliant and profoundly musical playing of the first 24 preludes and fugues of the "48" goes straight to the top of available piano versions’ (The Sunday Times)

‘The first recorded performances by a pianist of Book I that have made me want to hear them many times over. Strongly recommended’ (Gramophone)

‘An inspirational set’ (The Penguin Guide to Compact Discs)

‘Performances of exceptional grace and beauty … Angela Hewitt's version of Book I eclipses all others; hers will become the benchmark recording … special and uniquely enchanting’ (BBC Music Magazine)

‘I know of no musician whose Bach playing on any instrument is of greater subtlety, beauty of tone, persuasiveness of judgement or instrumental command than Hewitt’s is here … Hewitt has set a new benchmark. Her touch is admirably clear and light, her choices of tempo make perfect musical sense and, a trained dancer, she is uniquely attuned to Bach's supple, sprightly rhyhms. A '48' of exceptional grace and beauty’ (BBC Music Magazine)

‘Her sound and articulation seem ideally suited to the music … highly recommended’ (International Record Review)

„It ranks with the best ever set down. Subtle, daring (yet never idiosyncratic), continually alive to the two most enrapturing features of Bach's music (dance and song), she exhibits a rhythmic vitality and sophistication matched by very few“ (Piano, Germany)

‘A delight to both ear and mind. I have nothing but enthusiasm for Angela Hewitt's musicianly and imaginative performances’ (Gramophone)