Matthew Schellhorn is active as a teacher, giving regular masterclasses and workshops in the UK and abroad. In October 2016, he was elected a member of the Faculty of Music at the University of Cambridge, where he gives instrumental tuition and chamber coaching. He has also been involved with various educational projects to bring the music of young composers to concert halls. He has made teaching visits to numerous university music departments and conservatoires and maintains a private teaching practice from his home in London.

Masterclasses and workshops
  • Royal Birmingham Conservatoire (piano masterclasses) – March 2018
  • University of Cambridge (piano and chamber masterclasses) – February 2018
  • Goldsmiths, University of London (piano masterclasses) – February 2014
  • University of Cambridge (piano masterclasses) – November 2012
  • Walled City Music Festival / University of Ulster, Derry, Northern Ireland (composer workshop) – August 2012
  • Bath Spa University (piano masterclasses) – February 2012
  • Dublin Institute of Technology (composer workshop) – November 2011
  • Forest School, Essex (student composer workshops) – September 2011
  • Sounds New Festival, Canterbury (composer workshops) – May 2010
  • Trinity College of Music, Greenwich (repertoire class) – April 2008
  • Chetham’s School of Music, Manchester (piano masterclasses) – January 2008
  • Junior Guildhall, London (composer workshops) – February 2007
  • Bedford School and local schools (county educational project) – June 2006

  • Faculty of Music, University of Cambridge: ‘Sunsets and silences: the passage of time in Olivier Messiaen’s Catalogue d’oiseaux’ – October 2016
  • London International Piano Symposium, Royal College of Music: ‘Sunsets and silences: the passage of time in Olivier Messiaen’s Catalogue d’oiseaux’ – February 2013
  • Trinity College of Music: ‘Music for ondes Martenot and piano’ – November 2011
  • Brunel University, Uxbridge: ‘Music for ondes Martenot and piano’ – November 2011
  • Junior Guildhall, London: ‘Music and Birdsong’ – June 2009
  • EPTA Annual Conference, Liverpool: ‘Messiaen Piano Music’ – July 2008

Pre-concert talks
  • Stations by Ian Wilson’, York St John University – March 2014
  • Interview with Contemporary Music Centre, Ireland, Belfast Festival – October 2012
  • The Crystal Liturgy, Sligo Film Festival – November 2011
  • Quatuor pour la fin du Temps, Three Choirs Festival – August 2008
  • Turangalîla-Symphonie, West Road Concert Hall, Cambridge – March 2008
  • Jacqueline du Pré Music Building, Oxford (with Ian Wilson) – February 2007
  • Presteigne Festival (with Roger Nichols) – August 2005

Dissertations supervised
Subjects on music by Britten, Debussy, Dutilleux, Henze, Finzi, Messiaen, Pärt, Warlock and Xenakis
Titles below (with Cambridge Music Tripos parts, where appropriate, and dates in brackets)
  • Time altered? Temporal preoccupations in Olivier Messiaen's Saint François d'Assise (II, 2016/17)
  • Pedal technique as ‘a kind of breathing’ in Debussy’s piano music (II, 2015/16)
  • ‘Coming to terms with Wagner’: Identity and Originality in Hans Werner Henze’s Tristan (IB, 2012/13)
  • ‘A division of labour’? Complementarity and conflict in Olivier Messiaen’s Visions de l’Amen (II, 2011/12)
  • Correspondences: Duality and Symmetry in the Late Works of Henri Dutilleux (II, 2011/12)
  • The Shadows of Time: ‘Progressive Growth’ in the Orchestral Music of Henri Dutilleux (IB, 2010/11)
  • Langage communicable? Modes of Expression in the Music of Olivier Messiaen (IB, 2010/11)
  • ‘Everything in the world is linked; when you see one thing, then you can also understand many others.’ Finding Estonia’s political Zeitgeist in the choral works of Arvo Pärt (IB, 2009/10)
  • Iannis Xenakis: ‘Translating Futurism into Sound’? (MusB, 2009/10)
  • ‘Un reflet dans le vent’: the importance of theme in the music of Olivier Messiaen (IB, 2008/09)
  • How important was orchestral composition (until 1933) in the early compositional career of Olivier Messiaen, and what role did religion and poetry play in the construction of those works? (II, 2008/09)
  • ‘By Image, By Symbol’: Representation and Symbolism in Olivier Messiaen’s Saint François d’Assise (II, 2008/09)
  • ‘An English Composer’? An assessment of Finzi’s sense of self-identity in his wartime music (IB, 2007/08)
  • ‘La toute-puissance de l’exemple’: Olivier Messiaen, composer-pedagogue (IB, 2007/08)
  • Messiaen and the Great Western Tradition: an historical and analytical study of the Trois petites Liturgies de la Présence Divine (II, 2006/07)
  • The Music of Benjamin Britten (IB, 2005/06)
  • The Music of Peter Warlock (II, 2005/06)