While I wait, I listen again this evening to the 1996-97 recording that vaulted her to global attention.
Hewitt herself has said not to expect anything as startling as the differences between Glenn Gould's earlier and later recordings of these works. To her, the main differences in her own performances relate to the piano itself, the earlier recording having been on a Steinway and the later on her own
Fazioli piano. The latter piano has become the favorite of a number of noted pianists in recent decades.
Several reviewers of Hewitt's newer take on Bach's keyboard partitas have commented that there's far more to the differences than just the timbre of the two instruments in question, but that her later performances are more evolutionary than a grand leap of interpretation.
When it comes to interpretative performances of Bach's keyboard works, I always think back to the acerbic retort of harpsichordist Wanda Landowski to cellist Pablo Casals, "You play Bach your way and I'll play him
his way."
On the other hand, not everyone is a fan of anyone's Bach or anything else on a harpsichord. Thomas Beecham (co-founder and a conductor of the London Philharmonic) once offered this barely family-friendly assessment: "The sound of a harpsichord is like listening to two skeletons copulating on a tin roof in a thunderstorm."