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.
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.
Premiering in August 2013 is 'To Dream Again', a large-scale digital commission from the Edinburgh International Festival with New Media Scotland and the Centre for Design Informatics at the University of Edinburgh.
Performance highlights for 2013 include Aldeburgh Music with Pekka Kuusisto, York Spring New Music Festival, Diaphonique Paris, The Edinburgh International Festival and his first ballet, FLOW, opening in London. His conference appearances include ‘Thinking Digital’, ‘Shift Happens’, CampusPartyEU, MIDEM and ‘FutureEverything’.
Throughout 2012, 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 the 2013 Artist in Residence at the School of Design Informatics of Edinburgh University.
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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