‘An uncluttered, clear-focused, Perahia-like poetic overview whose intellectual acumen is almost Kempf-like in its clarity. By keeping the opening movement [Pathétique] on a firm rein, the finale, for once, doesn't emerge as a temporal and expressive anti-climax, but appears to grow quite naturally out of what had gone before … [Pastoral] again Hewitt has her finger on the pulse of this elusive work, easing us into the opening movement with a beguiling warmth that radiates exactly the right degree of gentle reverie … such expressive and structural clarity’ (International Piano)

‘Recordings of Beethoven sonatas are hardly rare, but performances of such subtletly and care definitely are … what distinguishes Hewitt's playing is precisely her careful use of dynamic, excellent fingering technique and a focus on key … great music, beautifully played: a definite best buy’ (Scotland on Sunday)

‘Quietly dazzling … in the Scherzo [Pastoral] the B minor trio is also marvellous—fleet, shadowy, all taken in a single breath … next, the 'Pathétique', which suits Hewitt very well. In the first movement, I particularly like the way in which she projects the Sturm-und-drang quality of the main Allegro di molto e con brio without turning it into the 'Appassionata' … [Op 2 No 3] Hewitt sounds completely happy playing it, and she finds just the right balance between its extrovert bravura and its lyricism’ (International Record Review)

‘Hewitt's fluent pianism … there's no shortage of imaginative touches in Hewitt's performances of the Pastoral sonata’ (BBC Music Magazine)

‘Hewitt punches out the dramatic opening chords of Beethoven’s Pathétique sonata with stinging vehemence, but otherwise plays the three sonatas here with a light touch. She often lingers deliciously over the Pathétique’s rich dissonances, while the adagio cantabile sings under her featherweight fingers and the rondo surges with spritely abandon at each return of the theme’ (The Times)

‘Throughout, Hewitt maintains her trademark clean tone. Colours are beautifully controlled, forms coherently shaped’ (The Sunday Times)

‘The Pastoral sonata leads off Angela Hewitt's second Beethoven sonata cycle instalment, and she taps into the music's overall geniality while also paying heed to its darker corners … I love Hewitt's conversational give and take between the droning left-hand ostinato and the main theme at the Rondo finale's outset … in addition to Hyperion's superb sound, Hewitt, as usual, provides her own penetrating, vividly articulate annotations’ (Gramophone)

‘Angela Hewitt is on characteristic top form in three of Beethoven's iconic sonatas … Hewitt's intelligent planning gives it [Pathétique] a hardcore makeover. The extremes of dynamic range are deftly realised, and she's fearless at articulating with a brittle touch where necessary’ (Classic FM Magazine)

‘Exquisite in taste is the slow movement of Op 22, a beautifully paced Adagio, in the hands of Angela Hewitt’ (Gramophone)

‘Hewitt’s uncluttered clarity of thought and inspired structural pacing pay even greater dividends in the glorious A major Sonata Op 101 (No 28). Hewitt captures its mood of glowing contentment to perfection, climaxing in a fugally inflected finale of exultant profundity. Hewitt’s approach recaptures the sense of wonderment experienced by the composer’s contemporaries. Not since the great Hans Richter-Haaser has a pianist produced Beethoven playing of such trance-like purity and vision. It’s been three years since we had the last instalment in this series (this is volume four)—let's hope we don’t have to wait as long for the next’ (Sinfini.com)

‘Humour, clarity, nuance and razor-sharp contrasts of dynamics characterize Hewitt's playing of the quirky Op 31 No 3 … this is one of my favourite recordings of this sonata … [Op 101] Hewitt's performance is grandly conceived and it takes us through the many shifts of moods with a masterful projection of the spirit and the letter of the music. Nothing is rushed and every note speaks naturally. Hewitt's own booklet notes and Hyperion's superlative sound could not be bettered. I recommend this recording without reservation’ (International Record Review)

‘Accomplished and beautifully recorded performances’ (Gramophone)