'Admirable, as fine as any other accompanist''

BBC Music Magazine


'There's no faulting Glynn's sensitive, detailed piano playing'



'The real star of the show is the pianist Christopher Glynn, for whom the
project has evidently been a labour of love. The detail and colour of his
playing (to say nothing of the way he meets the many technical challenges
Swann presents with a knowing wink) in the more than two hours of
accompaniments is a fine achievement. If that were not enough he also
contributes a first class booklet'



'This album is one delight after another. The performances are excellent.
Booth's light lyric voice caresses the songs lovingly while Glynn's flexible
phrasing adds tender nuance to his playing.'

American Record Guide


'Glynn was a characterful accompanist, painting mood and scene with an
expert touch, a compelling evening'

The Times

'wholly unforgettable,Christopher Glynn's eloquent playing,'

The Guardian


'I was transfixed and touched. Christopher's choir and orchestra (buttressed
anachronistically but virtuosically, by Christopher Glynn's brilliant piano

The Times


'At Carnegie Hall pianist Christopher Glynn was an exemplary partner, by
turns impossibly delicate, colourfully nimble and thunderously firm.'

Opera News


'The intense accompaniment, tackled with breath-taking sensitivity by
pianist Christopher Glynn...infinitely subtle dynamic range and some
impeccably moulded phrasing. One suspects this repertoire could have found
no finer exponents.'



'Supporting Royal with the utmost musical sensitivity, Glynn proved a
first-rate accompanist, indeed every bit as impressive and inspirational as
the wonderful Malcolm Martineau is on the CD recording. Many of these songs
required virtuosic pianism, which Glynn tackled effortlessly. At other
times, his delicacy of touch was irresistible.'

Opera Britannica


'Christopher Glynn is a superb accompanist: his precision, his flexibility,
his involvement are essential ingredients in the totality.'

MusicWeb International

'Glynn's contributions are eloquently gauged'

The Sunday Times

'Soprano Claire Booth and pianist Christopher Glynn provide a beautifully
planned celebration , beautifully managing the contrasts between simplicity
and immense sophistication , it makes a really engaging sequence.'

The Guardian


'the piano parts are constantly full of interest; I should imagine that they
pose quite a few challenges as well, though you'd never guess that from
Glynn's fluent, vital playing , he is as persuasive an advocate for the
music when sitting at the keyboard as he was when writing the liner notes ,
This is a captivating collection which I've enjoyed immensely.

MusicWeb International


'Glynn points up every detail of some colourful piano writing'

The Times


'This joyous collection from soprano Claire Booth and pianist Christopher
Glynn explores Grainger's stunning folk song output with great verve and
passion, revealing English folk music as an incredibly alluring,
multifaceted genre , a perfect album for seasoned Grainger enthusiasts and
curious newcomers alike.'

Readers Digest


'Chris Glynn was a master of his instrument and was the perfect display of
what an international artiste and accompanist could do with a single
instrument. At times giving the mighty support of an orchestra, and at
others becoming the perfect whisper of delicate sensitivity; strong and
gentle in equal measure, he was the consummate performer and collaborator.'

The Island


'beautifully played by Christopher Glynn'

The Independent


'pure artistry and friendship on stage'

The Sunday Times


'Sir John Tomlinson's magnificent bass , ingeniously coupled by Christopher
Glynn's deft pianism throughout much taxing accompaniment.'

The Press


'Chris Glynn , with glorious Scottish opera singer Janice Kelly… exquisite

The Daily Telegraph


'Not to be overshadowed was Christopher Glynn whose accompaniment almost
anticipated the mood of every performance that night, at times fiery, at
times breathtakingly haunting but consistently melting into the vocals and
providing the two singers with the perfect instrumental companion.'

The Sunday Times


'a vivacious and polished performance,Glynn's intelligent accompaniment
proved to be a perfect match for the singer's skillful characterisation and
dramatic flair.'

The Press


'Roderick Williams and his superb pianist Christopher Glynn trace Schubert
and Muller's downbeat sequence with unerring sensitivity.'



'The recital was miraculous, Roderick Williams so beguiling with such a
smooth, mellow voice with creamy tenor timbres, Glynn accompanying with such
reassuring authority and empathy. We all marvelled at the success of this
amazing afternoon.'

Birmingham Post


'Pianist Christopher Glynn had beauties and insights aplenty, a superb

The Times

'Sensitive accompanist Christopher Glynn...a stunning rendition'

New York Times


'Pianist Christopher Glynn provided exemplary accompaniment'

Montreal Gazette


'Kate Royal was exquisitely accompanied by Christopher Glynn who created
beautiful intimate atmospheres and seemed to play with fingers of velvet.'

Opera Magazine

'Fantastically talented pianist Christopher Glynn's playing was outstanding
for its clarity and sensitivity.'

The Scotsman


'Roderick Williams was sympathetically accompanied by pianist Christopher
Glynn. The control he displayed in Samuel Barber's Three Songs was masterly,
as was Glynn's dynamic accompaniment the piano as poised as Williams's
precise articulation.'

The Herald


'Pianist Christopher Glynn's sensitive voicing and nimble articulation were
as impressive as Kate Royal's expressivity.'

The Independent


'Regrettably Graham Johnson was indisposed but Christopher Glynn was in no
way a second-best replacement. His innate empathy with this repertoire was
immediately apparent, and his alert responsiveness to the nuances of the
texts was sustained throughout the performance.'

Opera Today

‘pianist Christopher Glynn...some of the most rapturously beautiful sounds I've heard in this year's Proms season'

Daily Telegraph

'Anchoring the entire programme is outstanding pianist Christopher Glynn, who provides
elegant support for the vocalists and fills the piano lines with expressive

Metropolitan Opera News

'Superb playing from Christopher Glynn'

The Telegraph


'Beg, borrow or buy this disc immediately. Superlative and compelling
performances. With piano accompaniment from Christopher Glynn, simply



'The results can be summed up in three words: brilliant, brilliant and
brilliant...accompanied by the excellent Christopher Glynn.'

The Guardian

'The performances are fine indeed, but more than anything, it is the music
itself that strikes is both utterly unique and breathtakingly
beautiful when singers and pianist Christopher Glynn suddenly slow as one...

Classic FM Magazine


'Joan Rodgers and Christopher Glynn...perfectly balanced partnership'

The Guardian


'Outstanding pianist Christopher Glynn - always imaginative'

Evening Standard

'For La Voix Humaine she was joined by pianist Christopher Glynn. I have
never heard the work with piano before but there could be no gainsaying
Glynn's surety of navigation when it came to the score's twists and turns'

Seen and Heard


'A piano reduction (Christopher Glynn, excellent) that proved just as
effective as Poulenc's orchestra.'

Financial Times

'Christopher Glynn's accompaniments were a model of creative collaboration'

Yorkshire Post

'Christopher Glynn's admirable piano accompaniment does excellent service to Poulenc's highly coloured score.'

Evening Standard


'fine pianist Christopher Glynn showed what real performance is all about,
not just accuracy and technical command, but imaginative daring.'

Musical Opinion


'Sung with sympathy and ardour by this excellent chamber choir, with apt
accompaniments from Christopher Glynn.'



'The further you get from London, it seems, the rarer is the song recital.
Yet Ryedale Festival clings tenaciously to this noble art-form, consistently
proving its value and power to please. Exquisitely enhanced by Glynn's
improvised decorations... Glynn gave thrilling support...encapsulating the
essence of English song.'

The Press


'Christopher Glynn plays with loving involvement and subtle expressive
freedoms in these overall very communicative performances.'

Musical Opinion


'The 1872 Bosendorfer has a quality of attack and tone-colour than makes for
almost diaphanous transparency as played by Gary Cooper and Christopher
Glynn, the climaxes austerely and appropriately weighty. A triumph, creating
the benchmark for this version.' 

BBC Music Magazine


'Coming top amongst the instrumentalists was pianist Christopher Glynn who
is technically extremely accomplished and also seems to immerse himself
entirely in the music, which he clearly understands and respects.'


'Sensitive accompaniment from Christopher Glynn,the harmonically daring
piano part, in this performance, often breathtakingly beautiful,the
performances are consistently of the highest quality.'



'Elegant, refined music-making' 

Audiophile audition, USA


'Christopher Glynn has long been one of my favourite accompanists and it was
a delight to hear him on this occasion.'

Musical Pointers

'Christopher Glynn on the piano accompanied with masterly command of nuance
and expressiveness'

Kolner Stadt-Anzeiger

'The two Christophers, Maltman and Glynn, were in cheerful accord. Relaxed and
characterful, they clearly savoured their mood of shared buoyancy and
intriguing accompaniment, superbly negotiated by Glynn. They enjoyed a
similar rapport in Don Quichotte a Dulcinée, all three of which showcased
Maltman's deft interpretative skills and Glynn's warm, affectionate

Classical Source


'a performance full of panache'

The Strad

'Catherine Wyn Rogers was partnered by the excellent accompanist Christopher
Glynn who was powerful and subtle in equal measure. It seemed that both
artists breathed at the same time.'

Weser Kurier


'Hugo Wolf's songs are a lovely melange of music and poetry in which both
singer and pianist, in this case the excellent Christopher Glynn, share the
glory... both Rodgers and Glynn put across the power of the music and words

Bath Chronicle

'Christopher Glynn very ably demonstrated the richness of texture Brahms
could work up in support of his singer'

The Scotsman

'Her choice of Christopher Glynn could not have been better...a brilliant
and prolific accompanist...great artistry'

Sunday Times

'The singers were joined by Christopher Glynn at the piano, giving
customarily studied and polished performances.'

Musical Pointers

'The performances throughout the evening were of the highest quality.
Christopher Glynn, called in at short notice to replace the indisposed
Malcolm Martineau, clearly relished the challenge and is a pianist to look
out for.'

Musical Pointers

'Meticulous performances, each phrase is perfectly balanced, its meaning directly
communicated, its accompaniment supremely tactful'

The Guardian

'The doyen of British baritones, Sir Thomas Allen, accompanied by the
festival's Artistic Director, Christopher Glynn who was with him every step
of the way, nowhere more so than in Ravel's Histoires Naturelles.'

The Press

'Christopher Glynn brings out the different colours in accordance with each song, from crashing chords to gurgling grupetti, sparkling little scales to vigorous
outpourings or soft sweetness'

International Record Review

'You might not imagine that a whole day of German Lieder would fire the
imaginations of Ryedale's gentle folk. You would be wrong,Christopher
Glynn's deft pianism provided glowing support throughout the day'

The Press

'Head created the most inventive and sympathetic writing for voice and piano,their expressive power is enhanced by the presence of the pianist Christopher Glynn and three
particularly word-sensitive singers....A revelation'


'Head, a long-neglected member of the first world war generation of
composers, is coming back to favour, and this collection of 27 songs, deftly
accompanied by Christopher Glynn, will do his reputation nothing but

Financial Times

'Christopher Glynn's piano accompaniments were of the highest calibre'

Le Monde

'Christiane Karg conjured an immediate, rueful remembrance in September,
while making an unearthly dream of Twilight, turning to focus on Christopher
Glynn's lark-tinged postlude. He had been tightly attuned to her throughout.
Lieder recitals should always be like this.'

The Press

'Velvet-toned pianist Christopher Glynn'

Classical Music

'The group are outstanding, with Glynn's Bosendorfer coming into its own, an
auspicious recording debut, the performances are consistently of the highest

Musical Criticism

'Christopher Glynn gave thrilling support'

The Press

'Christopher Glynn expertly accompanied'

The Guardian

Management: Helen Hogh
Groves Artists

Helen Hogh

Contact Chris