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Angela Hewitt is everyone’s go-to pianist for all things Bach. She’s recorded his entire body of work for solo keyboard, earning lavish praise for the joy and nuance she brings to pieces that in lesser hands can sound mechanical. Yet having worked her way through pretty much everything the man ever wrote, it’s understandable she would want to set her sights elsewhere. Hewitt’s non-Bach forays haven’t been as widely celebrated, and those that have tended to stick to his contemporaries, Handel in particular. Critics start to grumble whenever she moves much beyond the Baroque period, saying that even when she takes on 20th century composers like Ravel and Debussy, she manages to make them sound old-fashioned, kind of like…Bach. Naturally, she’s been paying the critics no mind and expanding her repertoire. So with the National Symphony Orchestra, Hewitt will tackle Mozart’s piano concerto no. 22. Mozart’s not normally an envelope-pusher, but for someone fighting a one-trick-pony rep, it’s a statement. Oct. 9–11 at Kennedy Center Concert Hall. $10–$85.