Peter Gregson is a cellist and composer "working at the forefront of the new music scene" (The New Yorker) Recently, he has premiered works by composers including Tod Machover, Daníel Bjarnason, Joby Talbot, Gabriel Prokofiev, Max Richter, Jóhann Jóhannsson, Steve Reich, Martin Suckling, Milton Mermikides, Howard Goodall, John Metcalfe, Scott Walker, and Sally Beamish; he also collaborates with many of the world’s leading technologists, including Microsoft Labs, UnitedVisualArtists, Reactify and the MIT Media Lab.
His debut solo album, ‘Terminal’, was commissioned by Bowers & Wilkins and launched in April 2010. A limited edition 10′′ vinyl was commissioned by Mute in May 2011, featuring new solo works for Peter written by Max Richter and Jóhann Jóhannsson and was released at the ‘Short Circuit’ Festival at The Roundhouse. In May 2012, Nonclassical released Gabriel Prokofiev’s ‘Cello Multitracks’, a cello suite written for Peter which the two have toured around the world. A new album of self-composed works for cello and electronics will be released in 2014.
Peter developed and was commissioned to compose ‘The Listening Machine‘, a data sonification of Twitter in collaboration with Daniel Jones and Britten Sinfonia for the BBC/Arts Council’s “The Space”, where it ran continuously between May-January 2013.
Performance highlights for 2013 include Aldeburgh Music with Pekka Kuusisto, Diaphonique Paris, The Bristol Proms and his first ballet, FLOW, opening in London. His conference appearances include ‘Thinking Digital’, ‘Shift Happens’, CampusPartyEU, MIDEM, ‘FutureEverything’ and FutureFest.
He is currently scoring his first feature film, directed by Alan Rickman and starring Kate Winslet, Helen McCrory, Matthias Schoenaerts and Stanley Tucci.
Peter was the Artistic Advisor to the Innovation Forum at the New England Conservatory, Boston and is founder of the Google funded Electric Creative Colab, an incubator developing collaborations between the arts and technology. He is a Moog endorsed artist.
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“…at the forefront of the new music scene…” The New Yorker
“…music to our ears” Wired
“…Gregson takes the sheer virtuosity [of Prokofiev's music] effortlessly in his stride” Gramophone
“…pushing the classical performance envelope…” Classical Music Magazine
“…he has the world at his fingertips…” The Scotsman