These two sets of Études occupy a significant place in Philip Glass’s voluminous output, as is reflected by a now extensive discography. Whereas Book 1 (Nos 1 10) emerged quickly in 1994 as a vehicle for its composer’s own recitals, Book 2 (Nos 11 20) only took shape sporadically up until 2012 and has been performed by a host of other pianists. Máire Carroll now joins the growing roster who have recorded both sets, with the clarity of her articulation and attentiveness to their subtly eddying expression making her a most persuasive exponent.

As Pwyll ap Siôn indicates in his informative annotations, Glass had written relatively little for solo piano until this First Book – its relatively modest technical demands and discreet if unforced encapsulation of his thinking across the previous quarter of a century making it ideally suited as a calling card for his own playing. For all her inclusiveness of technique, Carroll tends towards the circumspect as regards interpretation, predicating textural uniformity over any greater inclination to emphasise the emotional contrasts across and between each piece.

It is with the Second Book that composer and pianist come into their own respectively. Most notable is the naturalness with which Carroll here underlines the range of allusions to earlier composers, Glass being audibly intent on presenting this music in continuity with 250 years of Western keyboard music and thereby admitting a variety of interpretative possibilities such as Carroll seizes on with alacrity. Not least a 20th Étude that, in its fantasia-like evolution and surging emotional undercurrents, is substantial enough to satisfy adherents and sceptics alike.

Glass’s reading of Book 1 retains its authentic value, as does Maki Namekawa’s of both books, for which Jenny Lin is the preferred option through her technical finesse and overall lack of inhibition. Yuja Wang’s take on the Sixth Étude affords technical wizardry but little personality and Víkingur Ólafsson’s judicious selection, featuring two arranged with string quartet and an electronic adaptation, is still the best choice in terms of a first-time encounter. No one hearing Carroll, however, could doubt her commitment to or insight into this music.