In a musical age defined by blurred genres and digital reinvention, Peter Gregson stands at the vanguard of contemporary classical innovation. A British cellist and composer, Gregson has carved out a distinct space where tradition meets technology, and emotion finds a new voice with electronics.

Born in Edinburgh in 1987, Gregson studied at the Royal Academy of Music before launching a career that would challenge classical conventions. His early passion for the cello was soon matched by a fascination with the sonic potential of synthesizers, recording studios, and immersive audio. It’s this duality—rooted in centuries-old technique, yet forward-looking—that defines his sound.

Gregson gained international attention with his debut album Terminal in 2010, but it was his 2018 record, Bach Recomposed, for Deutsche Grammophon that firmly established him as a major voice in modern classical music. Reimagining Johann Sebastian Bach’s Cello Suites for six cellos and electronics, Gregson invited new audiences into a familiar world, sparking dialogue about what classical music could—and should—be in a digital age.

Highlights in 2025 include Everything we hear begins first in silence, a clarinet and cello duo- concertante for the Omega Ensemble in Sydney, Concrete Voids for Aurora Orchestra at the Southbank Center, and his latest record as an exclusive Decca Records US artist, the self-titled Peter Gregson, for solo cello, modular synthesizer, and string quartet, was met with critical acclaim.

Beyond the concert hall, Gregson has composed for film, television, and dance, with credits including BBC’s BAFTA nominated Lost Boys, Alan Rickman’s A Little Chaos starring Kate Winslet and Roger Michel’s Blackbird. His music has accompanied installations, adverts and runways shows including Burberry, Balenciaga, Bvlgari and appeared in ballets around the world with companies including Joffrey, Hamburg Ballet, Gauthier Dance, Ballet BC and countless others, further proving his versatility and appeal across disciplines. A collaborator at heart, Gregson has worked with artists from Max Richter to Ed Sheeran, choreographer David Dawson to director Paolo Sorrentino, always seeking fresh intersections of sound, space, and story.

In recent years, Gregson has also become a vocal advocate for immersive audio and spatial sound design, helping shape the future of how music is experienced. “I’m interested in how music feels in a room,” he once said. “Not just what we hear, but where and how we experience it.”

Peter Gregson isn't just composing music—he's composing new ways to listen. In doing so, he’s helping redefine what it means to be a classical musician in the 21st century.