Angela Hewitt's approach may be gleaned from her refreshingly lucid annotation, or simply by listening to what she does. 'A skilful player can [bring out the different voices] with different colours' and 'To be capable of producing a true legato without using the pedal will serve a pianist well in any repertoire.' She puts her fingers where her thoughts are. She never upsets the balance of the lines that it's in the nature of the harpsichord to yield, and her economy with the sustaining pedal helps preserve their clarity.
The two- and three-part Inventions are treated as music in their own right, not simply as invaluable exercises; each is given its distinctive character, with a wonderful variety of sensitive touch and shapely rubato that never threatens to become anachronistic. Her readings of the C minor Fantasia and the Chromatic Fantasia and Fugue are as eloquent and stimulating as any yet recorded by a harpsichordist.

As close to how I would choose to hear [the music] as I have yet had the pleasure of doing