‘Angela Hewitt's initial foray into the 226 harpsichord pieces of François Couperin, short works that were originally published in 27 Ordres, so deeply appealed to me … poignant music and the superb performances … by instinct, inclination, and training, Angela Hewitt emerges as the perfect interpreter of the music of François Couperin’ (Ottowa Citizen, Canada)
‘Angela Hewitt shows that when properly used the piano can project Couperin's thought with grace and accuracy. Her playing is vividly alive to detail and her choice of tempi is wholly convincing. She is finely recorded. Not to be missed’ (Musical Opinion)
‘The point is of course whether the music is interpreted in a fresh, imaginative way, and that is always the case with Angela Hewitt … here Hewitt has a chance to be witty as well as formidably dextrous—a side to her that is rather attractive’ (Pianist)
‘In all three of the Ordres here, Hewitt finds plenty of variety, and she is always punctilious in her observation of the nuances of Couperin’s ornamentation’ (The Guardian)
‘It is the highest possible compliment to her playing to say that after a very few minutes the listener loses any awareness that this is not the instrument for which they were written … playing of exquisite subtlety and refinement’ (The Daily Telegraph)
‘Its virtues are those that distinguish her Bach: Clarity of line, delicacy of touch, a sense of rhythm that neither forgets nor overplays the importance of dance in baroque music’ (The Independent on Sunday)
‘Of all living pianists, Hewitt makes the strongest case for hearing Bach on the piano as opposed to harpsichord. Here, she applies the same staggering technique and intellectual grasp to three suites by François Couperin … outstanding’ (The Independent)
