Head and shoulders portrait of Andrew Glynne

Andrew Glynne, Composer


Music by Andrew Glynne

I write orchestral and other instrumental music, and songs.

My aim is to write music which is original and accessible, which explores new sound combinations and which has a strong melodic content and a clear sense of direction.

Stuart Davis (1892-1964) Abstraction, 1937 Public Domain

Five Stages

An orchestral piece in five parts.

Part III

The theme of Part III, ‘Lost and Found’, is the contrast between certainty and uncertainty or, in a wider sense, being up and being down or being optimistic and pessimistic. The music seeks to evoke this divergence in a series of contrasting sections. 

The opening mood is uncertain leading to a sombre, downbeat passage but more positive elements soon begin to make their presence felt before a confident sequence ensues, dominated by the strings and later supplemented by the Horns.  This leads to the first forceful climax which then ends on a quiet, restrained note.  A slow questioning passage then begins, led by the tenor sax, and once this concludes, the music picks up pace again and the earlier confident passage returns leading to the final climax supported by the woodwinds.  The piece then ends with a long note dying out on the strings.

In the video the contrasting profile figures to left and right are intended to reinforce the contrasting passages in the music with the final face on figure suggesting a particular conclusion.

Part II

Part II has the title ‘Into The Spiral’ and the main intention here was to express the idea of being confronted with and reacting to, a series of challenges. The piece opens with a quiet folk-influenced passage for solo flute which is then interrupted by the main two-note motif which appears throughout the rest of the piece in various forms; on each occasion it is developed differently before returning to its original form. The piece ends on a quiet note with a final restatement of the two-note motif fading into the background. Trumpet and saxophone play a leading role in the score and, as with Part I, the audio was generated by Sibelius Sounds.

Part I

Part I is entitled ‘High Hopes’ and the idea behind it was to reflect positive and optimistic feelings at the start of a long journey; it begins with a fast paced section built around an upbeat opening phrase before giving way to a slower more reflective section. This builds to a climax, culminating in the reworking of the original opening phrase. The final section consists of a series of rising passages building to the final crescendo. The mood is predominantly confident and upbeat.

The piece is scored for a full orchestra – the woodwind section comprises flute, cor anglais, B flat clarinet, three different saxophones: soprano, tenor and alto, and bassoon, and the percussion section, cymbals, whip, maracas, brake drum, wood block and crotales. In addition there are three synthesizer sounds – synth brass, pad 7 (halo) and pad 8 (sweep). The recording was generated by Sibelius Sounds.

The ‘E’ Suite – Part I

The ‘E’ Suite is a piece for string orchestra in four parts. It begins quietly and develops gently before ending with a strong and sustained climax.

The narrative ideas here are the start of a major undertaking or event, such as the birth of a child or an idea or ambition, leading to excitement, joy, a sense of fulfilment.  Towards the end a short passage suggests some anxiety and uncertainty but the piece concludes on a very positive note.

The scoring was originally completed in Sibelius 7 before being transferred to Cubase 9.5 and edited with the virtual instruments of the Vienna Symphonic Library (Special Edition and Special Edition Plus). The recording you can hear was mastered by the sound engineer and producer, Phil Marsden.

A Little Light Pastiche

This is a short lively piece for string orchestra. It was conceived as a dance piece and has an uptempo rhythm built around a five note motif which is repeated at regular intervals throughout.

As with ‘The ‘E’ Suite, Part 1’, the scoring was transferred to Cubase from Sibelius 7 and edited with the virtual instruments of the Vienna Symphonic Library. Mastering was again undertaken by Phil Marsden.


This is a piece for solo piano. The mood is sombre and the intention was to reflect on past events and how these will impact on events in the future. It is in two parts each beginning with the same short chord progression – acting like a refrain – which also ends the piece with a slow and deliberate fade.

The Sibelius score was transferred to Cubase 9.5 and edited with Modartt Pianoteq using the Bluethner Prelude piano voice – mastering was undertaken by Phil Marsden.


This was my first orchestral piece. It’s scored for flute, oboe, clarinet in B flat, bassoon, French horn, trumpet in B flat, trombone and strings and the audio is from Sibelius Sounds.

The opening section is quiet and contemplative, featuring a series of sustained notes interspersed with short motifs. A brief crescendo then follows, led by the trumpet, before a contrasting theme is introduced – the first part is jagged with plenty of single note staccato and the second smoother with rising and falling passages. The theme is passed between the woodwind instruments before leading to a sustained, rising crescendo involving all the instruments of the orchestra. The piece then finishes with a quiet descending passage in the strings. In writing it I was thinking of how people constantly strive to achieve their objectives despite often being derailed along the way.