Born in Dublin to Irish parents, Gregory Harrington began to play the violin at the age of four at the Royal Irish Academy of Music. He holds degrees in Business and Music from University College Dublin, American College Dublin, The Guildhall School of Music in London and Mannes College of Music in New York City.
Today, Harrington is one of Ireland's most recognized violinists, having performed all over the world as soloist in some of the world’s greatest concert halls for Presidents, the United Nations, and millions of music fans at arenas and stages worldwide. He was invited to open the St Patrick's Day Parade live on NBC on 5th Avenue to a nationally televised US audience and was invited by the Green Bay Packers to perform the US National Anthem at Lambeau Field.
Harrington has appeared with many great orchestras and esteemed conductors including the San Diego Symphony, Rhode Island Philharmonic, Mexico City Philharmonic, RTE Concert Orchestra and the Janacek Philharmonic under Thomas Wilkins, Robert Houlihan, Mariusz Smolij and Mark Shapiro amongst others.
In 2006 he founded his own record label, Estile Records, and has has enjoyed success on the Billboard Classical Charts having released 3 critically acclaimed albums to date.
Harrington is currently based in New York City and performs on a 2007 Stefan-Peter Greiner violin.
Violinist Gregory Harrington is a throwback to the rich lyrical strings sounds that evoke the melodic
swing of Stephane Grappelli on alluring session...Bold and beautiful.
The new album is a treat to the ears. The renditions lend unfamiliarity to the familiar tracks, offering
a fresh melodic experience to the listener.
With nods to classical, jazz, and blues weaved in here, Harrington is able to make something that
— Neufutur Magazine
[Harrington's] haunting performance of the theme from ‘Schindler’s List’ rivals Perlman’s justly famous
impressive...a natural artistry and an ability to dazzle.”
— The Irish Times
“a profound sense of melancholy touching every phrase....reveling in its rich sonorities and capturing
its underlying tensions with great aplomb.”
— The Strad Magazine