Peter Flint lives in New York City where he is an active composer and accordionist. He writes and performs both as a soloist and for various ensembles, including a new chamber group he is forming to perform Afro-Cuban influenced contemporary music.
For the past year, he has moved his artistic endeavors in new directions by studying both Afro-Cuban percussion and jazz improvisation, participating in a weekly workshops at the New York Jazz Academy, and applying this new material to both his composing and performances.
He was born in Delaware to a musical family. His mother is a Baroque harpsichordist and founder of Brandywine Baroque and Plectra Records and his grandmother was a community pianist and organist. He received a B.A./B.Mus. in History and Electronic Music from Oberlin College and Conservatory of Music where he studied with Conrad Cummings, and his M.Mus. from New England Conservatory where he studied with Michael Gandolfi, Lee Hyla, and Scott Wheeler.
In 2010, he took up the accordion, studying with Walter Kühr and William Schimmel. This has led to numerous new collaborations, most recently with electric guitarist/drummer Ben Kaplan, and with the newly-formed accordion quartet, Bachtopus, which plays classical and contemporary repertoire.
He is an active member of the board of directors at the Third Street Music School Settlement, the oldest community music school in the country, serving on their executive committee and as chairman of their Programs committee.
Recent compositions include We Speak Too Much of Danger, for violin and piano, Halfway, for accordion quartet, Paganini’s In There Somewhere and The Waning Days of Raphus Cucullatus for solo accordion; ElectroSonata:Spontaneous Combustion for piano and electronics (recorded and released by the Oberlin Music record label); and Sheetflow Songs, a song cycle without words co-written with guitarist Ben Kaplan. Peter’s music has been performed by The Avian Orchestra, American Opera Projects, the Serafin Quartet, the Orchestra of the SEM Ensemble, Dinosaur Annex, Brandywine Baroque, and the Auros Group for New Music, among others.
In 2002, he founded a mixed chamber ensemble, The Avian Orchestra, to showcase American composers in a series of themed concerts and recordings. The group, currently on hiatus, performed regularly for ten years, building bridges between audiences, performers, and various musical styles and media. They released numerous recordings of music commissioned for the group as well as other previously unrecorded works. Their debut performance, Birds of a Feather, presented a wide variety of music inspired by birds and was favorable reviewed in the New York Times, which described it as “beautifully and sensitively played.”
In the past he has written music for numerous theatrical productions in New York City and the region at such venues as the Juilliard School Drama Division, the Delaware and Philadelphia Theatre Companies, the 78th Street Theater Lab, and the Jean Cocteau Repertory Theater. In addition he worked with Hyperspace Cowgirls, a now-defunct multimedia company, creating music and soundscapes for software for children.
When not busy with all this and his family, he is active with the Brooklyn Accordion Club, plays soccer, tinkers with vintage bicycles, and sails small boats.