Getting ahead of next year’s 90th birthday celebrations, American pianist Simone Dinnerstein presents two works by Philip Glass, performing alongside her own string ensemble. Baroklyn – the name conflates her home borough of Brooklyn and the baroque sensibilities of JS Bach – take a far-from-mechanical approach to the composer’s minimalist tics. Their aim is to emulate the passage of time like sand through an hourglass (hence the title) rather than chopping the music into segments like the hands of a clock. And it works.

Arranged by Michael Riesman, Suite from The Hours splices Glass’s score for Stephen Daldry’s film into an almost symphonic three-movement work. The story’s pain and poetry is encapsulated in an immersive score for piano, strings, harp and celesta, with Dinnerstein raising the emotional stakes by adopting considerably slower tempi than the movie soundtrack.

The other work here is the Tirol Concerto from 2000, the first concerto Glass wrote for piano. Bach is never far from the surface in the crisply energetic outer movements, but the jewel in the crown is the central elegy. “Every repetition is a reaction to the one before and an anticipation of one to come,” writes Dinnerstein in her insightful sleeve note, a refreshingly organic approach that really allows these interpretations to breathe.

Listen on Apple Music (above) or on Spotify