‘By turning her attention to these works, Angela Hewitt may succeed in reviving and popularising Couperin’s enchanting music as no modern-day harpsichordist has been able to do’ (Gramophone)

‘Wit, tenderness, and sensibility—these essential elements of the Couperin style Hewitt provides with grace and scholarly affection, her Steinway piano singing in glorious Technicolor’ (Audiophile Audition, USA)

‘Angela Hewitt is a remarkable musician with a highly refined sensibility. She makes use of the best qualities of the piano without stepping out of stylistic bounds … such intelligent musicianship’ (American Record Guide)

«La pianiste canadienne y séduit par une conduite très narrative, délicate, rendant chaque pièce de manière très caractéristique, et avec une éloquence certaine» (Classica, France)

‘In the expert hands of Angela Hewitt, François 'Le Grand' Couperin makes as easy a transition from harpsichord to piano as has Bach. The difference is that many people may—and should—now be listening to Couperin for the first time. Following the huge success of Hewitt's first volume of Couperin keyboard works [Hyperion CDA67440}—a selection from Books II and III of his Pieces de Clavecin, including the captivating 'Les Barricades Mystérieuses'—Hewitt now adds 21 more works from five 'Ordres' of Book IV, ranging from tranquil lyricism to full-blooded bragadoccio. Here is keyboard-playing of the highest order, in unfamiliar repertoire long due a sympathetic hearing’ (The Guardian)

‘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)