‘For someone of Angela Hewitt's pulling power to invite her fans so enticingly down so unfashionable a path—a poncy ancien régime twiddler? And on the piano!—is brave; and it's right’ (BBC Music Magazine)

‘Hewitt chooses to approach these works with a reverent bow both to the composer and the instrument that inspired him, never making excessive use of dynamics, and keeping the gestures in a deliberately narrow emotional scope. Her musicality is always present but never blatantly displayed, emotions kept in check with refined restraint. In this economy of means, she seems to mirror Couperin's writing itself’ (Fanfare, USA)

‘Hewitt's playing is equally representative of her general approach to his music. Her touch is amazingly light, incredibly crisp and alert to the possibilities afforded by the piano’ (Gramophone)

‘Angela Hewitt's final Couperin volume demonstrates once again her mastery in Baroque music. The Canadian pianist doesn't reject period style altogether, as her crisp, precise articulation and stylistically faithful ornamentation demonstrate. Add the singing melodic lines made possible by the modern piano, and Hewitt's graceful journey through these expressive, witty vignettes becomes absolutely breathtaking’ (Time Out New York, USA)

‘Angela Hewitt's third (and final) selection of François Couperin's keyboard music for Hyperion confirms her to be a poetic and sensitive guide to this enchanting French Baroque idiom … Altogether, this is another absorbing, excellently recorded Couperin recital; Hyperion's three-disc set is an altogether compelling package’ (Pianist)

‘Hewitt's feather-light agility, crystal-clear sense of independent line and suggestion of harmony without sluicing the sustain, makes for the perfect 'harpsichord experience' on the piano: the best of both worlds. There's grace and dance everywhere, and this delightfully pure music is perfect to accompany afternoon tea or for intense listening with a score’ (HMV Choice)

‘First, the bad news. This third splendid selection of Couperin's keyboard music from Angela Hewitt is reported to be the last in the series. The good news, however, is that it is, if possible, even more delightful than its predecessors, illustrating the wit, charm, and above all the vivid descriptive power of his music’ (The Daily Telegraph)

‘Hewitt's dynamic shading and careful ornamentation work together to produce the scintillating musical equivalent of light shining through crystals’ (Toronto Star, Canada)

‘Played with this degree of sensitivity to articulation, textural balance and colour, it comes blazing off the printed page … Hewitt is inimitable’ (Classic FM Magazine)

‘Angela Hewitt works her magic on the most instrument-specific of the French grand siècle harpsichordists, not least by respecting rather than rejecting the harpsichord … her fingering clarity matches the articulation of a harpsichord's plucked string. Above all, her impeccably even tone allows her to deck the melodic lines with Couperin's carefully-specified ornaments, without a hint of obtrusive accent’ (BBC Music Magazine)

‘Throughout this recording the choir demonstrates the exceeding beauty of Crecquillon’s music. At certain moments it sears the soul so that one can hardly stand to listen to it, like too bright a light makes one want to close [one's] eyes. What could possibly be more fitting for a discussion of death and everlasting life?’ (Sacred Music, USA)

‘Apart from the group's accomplished vocal work, the strong point of this disc is the profound understanding that is conveyed in the notes by Martin Ham. We can expect more of this repertoire from the group. But don't wait to get this one, for it is neatly organized and beautifully sung’ (Fanfare, USA)