Others may feel rather differently with regard to his phrasing in the second movement of that work, but it is surely as the composer intended and not as heard (as is so often the case) through some later nineteenth century Romantic ears. The point is that when the eruptive finale bursts upon us, it does so with renewed force, crowning a very fine performance, in which Hewitt's attention to rhythmic detail is admirable. Although the 'Moonlight' is one of two sonatas with the subtitle 'quasi una fantasia' that phrase should more properly be applied to its companion, Op.27 no.1, which presents some truly formidable challenges to the pianist, not least in Beethoven's remarkably original structural-organic innovations. As such, what might at first appear a straightforward work actually is a deeply subtle construction, and Hewitt, to his credit, has the measure of this often overlooked masterpiece very fully, relating the first and last movements admirably in terms of overall form at the same time as relating the inner much shorter movements within the totality. Throughout this is Beethoven playing of no little distinction. Here is a young artist to watch, a thoughtful and completely assured pianist in total technical command, with a lively and intuitive musical mind to match, as the interview with him in the booklet testifies. The recording quality is admirably clean and clear.

Robert Matthew-Walker International Record Review
See less

It would be all too easy to overlook a new CD of Beethoven's Op.10 Sonatas from a small independent label, played by a relatively unknown young pianist, but I have been so impressed with this disc that I urge you to seek it out and listen to it. This is immensely musical and convincing Beethoven playing from an artist who has already earned well merited praise from Vladimir Ashkenazy, John Lill and Andras Schiff. The most impressive aspect of Peter Hewitt's artistry is that at no time does he get in the way of the music - this is Beethoven speaking directly to us, a statement that can so rarely be applied these days, even to the playing of famous and widely acclaimed pianists. Hewitt's technique is flawless, and is always placed at the service of the music; he often reveals tiny details, within the overall phrase or paragraph, which one had either overlooked or forgotten, but which are in the score - and he does so in ways that do not impair the flow of the music. Not that I necessarily agree with every last dot and comma of these performances: I feel that his tempo for the Presto finale of the F major sonata is a shade too fast, but equally I found it compelling in its drive and in the revelation of Beethoven's often humorous points, so that it is impossible to withhold praise - and in this movement, Hewitt's closing bars are tremendous. His account of the slow movement of the D major sonata is indeed profound. Here is the finest Beethoven piano sonatas debut disc I have heard in years; it deserves a place in every CD collection. The recorded sound is excellent.

Robert Matthew-Walker International Record Review
See less