In his liner notes, Glass explains how he determined to write for Simone Dinnerstein (who launched her career with a self-funded, acclaimed recording of the Goldberg Variations) after hearing her in recital in the lead up the 2016 Glenn Gould Prize. He understandably states that he is “very pleased with how the music turned out”. Recorded with the conductor-less A Far Cry chamber orchestra, the concerti are delivered in sympathetic performances, which not only capture the spirit of the works but allow counterpoint and often intricate interplay to shine through with warmth and clarity.

Perhaps the most effective movement in the Glass is the third, dedicated to Estonian composer Arvo Pärt. It suggests his work with his bell-like sonorities detected in the piano’s left hand. And of course, the spirit is never far below the surface when it comes to Bach’s work either – be it secular or sacred.