‘Her recording is at once airy and inexpressibly profound. It has a significance way beyond the beauty and depth of her playing. In a chaotic, Dante-esque world … Angela Hewitt, with her heart-stopping playing of Bach on this vital new recording, offers a singular voice of clarity and reason’ (The Herald)

‘Angela Hewitt's Bach has long been a thing of wonder … this four CD set of both books of Das Wohltemperierte Klavier again illustrates how she can deploy the timbres and technical attributes of the piano to animate the music in the most sensitive way. Her palette of colours is judiciously chosen, her variety of touch and dynamics gauged so that each prelude and fugue has a character of its own and contributes something special to Bach's iridescent kaleidoscope of musical invention’ (The Daily Telegraph)

‘Listening to Angela Hewitt's latest thoughts on Bach's Well-Tempered Clavier alongside her late-1990s Hyperion cycle, it appears that her interpretations haven't changed so much as evolved, intensfied and, most important, internalised … while both versions hold equal validity and stature, Hewitt's remake ultimately digs deeper, with more personalised poetry’ (Gramophone)

‘A previous document, which draws on her development as a person and a performer over the past 10 years. Playing of this ease and assurance rarely has such a profound understanding of the material. This is no mechanical journey through the cycle of keys. This is life itself’ (The Observer)

‘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)