Matthew Schellhorn’s performances of the piano music of Olivier Messiaen have been met with superlative critical approval.
His acclaimed solo recital at London’s Southbank Centre in 2006 of an all-Messiaen programme confirmed his status as the pre-eminent Messiaen interpreter of his generation in Britain. Following his performance at the age of twenty of Messiaen’s Vingt regards sur l’Enfant-Jésus in Cambridge, he was invited in 2002 to perform at the Messiaen International Conference, where Christopher Dingle of BBC Music Magazine described one solo recital as “a cherished memory for those privileged enough to experience it”.
The most recent endorsement comes from Messiaen’s wife and dedicatee, Yvonne Loriod-Messiaen, who has described Matthew Schellhorn as “an excellent pianist and an excellent exponent’, and had praised his performances as “wonderful in every detail ... everything is played as Messiaen wanted it”.
In June 2007, Matthew Schellhorn partnered violinist Elizabeth Cooney in the UK premiere of Messiaen's newly discovered Fantaisie. June 2007 also saw the publication of a new academic study of the composer – Olivier Messiaen: Music, Art and Literature – to which Matthew Schellhorn was a contributor.
During the 2008 Messiaen centenary, Matthew Schellhorn was involved in numerous performances of Messiaen’s music. He was also guest soloist in performances of Trois petites Liturgies de la Présence Divine and Turangalîla-Symphonie under Stephen Cleobury and Baldur Brönnimann. He also took part in the “Festival Messiaen au Pays de la Meije” in France.
Matthew Schellhorn’s new disc with the Soloists of the Philharmonia Orchestra (Messiaen: Chamber Works) is available on Signum Classics.
Praise for Messiaen CD
Read more reviews
RECENT PUBLICATION
Olivier Messiaen: Music, Art and Literature
Edited by Christopher Dingle and Nigel Simeone
“Before his death, Messiaen was, quite naturally, regarded as the primary, often the only, source of information about himself and his music. ... Matthew Schellhorn provides a prime example of the kind of recent scholarship that is not afraid to cast a critical eye upon the reliability of some of Messiaen's key pronouncements, in this case with respect to Stravinsky's Les Noces.” (Preface)
This recent volume, published by Ashgate in 2007, contains “Les Noces and Trois petites Liturgies: an assessment of Stravinsky's influence on Messiaen” by Matthew Schellhorn. The chapter makes a detailed comparison of Messiaen’s Trois petites Liturgies de la Présence Divine (1943–44) and Stravinsky’s Les Noces (Svadebka; The Wedding; 1914–23). Similarities of instrumentation, modal and rhythmic practice, ethos, aesthetic, text, motif and form, are asserted and evaluated, while Messiaen’s uncharacteristic reticence to analyse his work in great detail is accounted for.
More details from Ashgate
Buy the book from Amazon.co.uk
Selected reviews
His acclaimed solo recital at London’s Southbank Centre in 2006 of an all-Messiaen programme confirmed his status as the pre-eminent Messiaen interpreter of his generation in Britain. Following his performance at the age of twenty of Messiaen’s Vingt regards sur l’Enfant-Jésus in Cambridge, he was invited in 2002 to perform at the Messiaen International Conference, where Christopher Dingle of BBC Music Magazine described one solo recital as “a cherished memory for those privileged enough to experience it”.
The most recent endorsement comes from Messiaen’s wife and dedicatee, Yvonne Loriod-Messiaen, who has described Matthew Schellhorn as “an excellent pianist and an excellent exponent’, and had praised his performances as “wonderful in every detail ... everything is played as Messiaen wanted it”.
In June 2007, Matthew Schellhorn partnered violinist Elizabeth Cooney in the UK premiere of Messiaen's newly discovered Fantaisie. June 2007 also saw the publication of a new academic study of the composer – Olivier Messiaen: Music, Art and Literature – to which Matthew Schellhorn was a contributor.
During the 2008 Messiaen centenary, Matthew Schellhorn was involved in numerous performances of Messiaen’s music. He was also guest soloist in performances of Trois petites Liturgies de la Présence Divine and Turangalîla-Symphonie under Stephen Cleobury and Baldur Brönnimann. He also took part in the “Festival Messiaen au Pays de la Meije” in France.
Matthew Schellhorn’s new disc with the Soloists of the Philharmonia Orchestra (Messiaen: Chamber Works) is available on Signum Classics.
Praise for Messiaen CD
A heart-stoppingly beautiful performance ... Listeners who love Quatuor pour la fin du Temps owe it to themselves to hear this stellar version. [Five stars *****]
All Music Guide (USA)
A fine, solid ensemble performance. ... Technically assured throughout. ... The effect is powerful and chilling.
International Record Review
Fine performances ... by turns poetic and dramatic ... compelling.
BBC Music Magazine
A worthwhile and distinctive release.
Gramophone
What binds this recording together is the excellent playing of pianist Schellhorn, praised in the notes by Loriod herself. His keyboard performances fascinate and enliven the ear and mind.
Fanfare
Read more reviews
RECENT PUBLICATION
Olivier Messiaen: Music, Art and Literature
Edited by Christopher Dingle and Nigel Simeone
“Before his death, Messiaen was, quite naturally, regarded as the primary, often the only, source of information about himself and his music. ... Matthew Schellhorn provides a prime example of the kind of recent scholarship that is not afraid to cast a critical eye upon the reliability of some of Messiaen's key pronouncements, in this case with respect to Stravinsky's Les Noces.” (Preface)
This recent volume, published by Ashgate in 2007, contains “Les Noces and Trois petites Liturgies: an assessment of Stravinsky's influence on Messiaen” by Matthew Schellhorn. The chapter makes a detailed comparison of Messiaen’s Trois petites Liturgies de la Présence Divine (1943–44) and Stravinsky’s Les Noces (Svadebka; The Wedding; 1914–23). Similarities of instrumentation, modal and rhythmic practice, ethos, aesthetic, text, motif and form, are asserted and evaluated, while Messiaen’s uncharacteristic reticence to analyse his work in great detail is accounted for.
More details from Ashgate
Buy the book from Amazon.co.ukSelected reviews
An extremely valuable collection of essays on the life and works of Olivier Messiaen. This book should be of tremendous usefulness to Messiaen scholars worldwide.
Rebecca Rischin, Ohio University, USA
For quality and depth of scholarship, I cannot speak too highly of it … an altogether impressive volume. *****
BBC Music Magazine
The book has been expertly put together. … Together all these chapters make a vital contribution to Messiaen research.
The Tablet
Offers a fresh look at specific, and perhaps downplayed, aspects of Messiaen’s work…these essays look at some of the influences most essential for a complete understanding of Messiaen’s music. Recommended.
Choice
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Schellhorn was in his element, letting the pedalled chords float and calibrating the interplay between darkness and light with fastidious care.
The Independent
... not a nuance was left unexpressed, not a silence given less than its due importance, not an emotional pivot-point neglected.
MusicWeb International
AllMusic Classical Editors’ Favourite 2008