The instrument is radiantly captured by Hyperion's engineers; indeed, for sheer beauty of sound, this version is unparalleled...Hewitt spins a lyrical cantabile throughout, every line eloquently voiced and articulated. Admirable, too, is her ability to make the music dance with balletic grace.

how does one sustain interest and concentration without compromising the music's structure and character? Contrapunctus I alone reveals not only Angela Hewitt's solution to these challenges but also the extent of her evolution as a Bach player...Hewitt's expressive and dynamic range is both expanded and strategically deployed.

Hewitt's account, characteristically, is clean and precise but always pianistic - she never seems, like some pianists, to be imitating a harpsichord, whereas her delicate touch means that the music is not burdened with undue heaviness.

Hewitt admits she was daunted by this music...She only took The Art of Fugue into her repertoire in 2012, but it crowns — magnificently — her acclaimed Hyperion recordings of the complete keyboard works, reaffirming her position as the outstanding Bach pianist of her generation.

I won’t mince words. This Art of Fugue is marvellous. The variety and beauty of tone alone make compelling listening, bringing contrasts, clarity and warmth to Bach’s intellectual marvels...Yet her fingers never make the results dry triumphs of engineering.