In addition to his work on the concert platform, Matthew Schellhorn is a passionate educator and communicator, giving regular masterclasses and workshops in the UK and abroad.
He has visited many university music departments and conservatoires to talk about his work in a wide range of performance contexts, including performance practice, commissioning and interpreting new works, working with today’s composers and bringing out fresh ideas in the interpretation of well known repertoire.

His work in academia has included giving lecture recitals and teaching subjects including 20th- and 21st-century music.

In 2016, he was elected to membership of the Faculty of Music at the University of Cambridge.

He was recently appointed to the International Advisory Board of Naxos Musicology International, a new online platform for music scholarship publishing lively and engaging content from a wide range of scholars and students, as well as music industry practitioners and general enthusiasts.
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Matthew maintains a private teaching practice from his home in London. In addition to traditional in-person lessons he offers online tuition with sessions including one-to-one instrumental lessons, musicianship, theory of music and career advice.

Please go to the Contact page to get in touch and discuss your needs.

Selected educational projects

  • Solo and chamber masterclasses
    • Royal Birmingham Conservatoire (03/2018)
    • University of Cambridge (02/2018)
    • Goldsmiths, University of London (15/02/2014)
    • University of Cambridge (11/2012)
    • Bath Spa University (30/02/2012)
    • Chetham’s School of Music, Manchester (23/01/2008)
  • Composer workshops
    • University of Aberdeen (26/10/2017)
    • Walled City Music Festival / University of Ulster, Derry, Northern Ireland (08/2012)
    • Dublin Institute of Technology (18/11/2011)
    • Forest School, Essex (09/2011)
    • Sounds New Festival, Canterbury (05/2010)
    • Trinity College of Music, Greenwich (04/2008)
    • Junior Guildhall, London (02/2007)
    • Bedford School and local schools (06/2006)
  • Lecture recitals
    • Royal Academy of Music, London, UK: “Unheard English Piano Music” (with Dr Jonathan Clinch; 24/01/2020)
    • Spode Music Week, Derbyshire: “Herbert Howells unpublished piano music” (14/08/2019)
    • Faculty of Music, University of Cambridge: “Sunsets and silences: the passage of time in Olivier Messiaen’s Catalogue d’oiseaux” (10/2016)
    • London International Piano Symposium, Royal College of Music: “Sunsets and silences: the passage of time in Olivier Messiaen’s Catalogue d’oiseaux” (02/2013)
    • Trinity College of Music: “Music for ondes Martenot and piano” (11/2011)
    • Brunel University, Uxbridge: “Music for ondes Martenot and piano” (11/2011)
    • Junior Guildhall, London: “Music and Birdsong” (06/2009)
    • EPTA Annual Conference, Liverpool: “Messiaen Piano Music” (07/2008)
  • Pre-concert talks
    • York St John University: “Stations by Ian Wilson” (03/2014)
    • Contemporary Music Centre, Ireland, Belfast Festival: Interview with Ian Wilson (10/2012)
    • Sligo Film Festival: “The Crystal Liturgy” (11/11/2011)
    • Three Choirs Festival: Quatuor pour la fin du Temps (08/2008)
    • West Road Concert Hall, Cambridge: Turangalîla-Symphonie (03/2008)
    • (with Ian Wilson) Jacqueline du Pré Music Building, Oxford (02/2007)
    • (with Roger Nichols) Presteigne Festival (08/2005)
  • Academic publications
    • “Yvonne Loriod” in Scholl, Robert. Messiaen in Context. Cambridge: Cambridge University Press (forthcoming)
    • “New Recording of Rare Manuscripts by Herbert Howells”: Naxos Musicology International, June 2020
    • “Les Noces and Trois petites Liturgies: Stravinsky's Influence on Messiaen” in Christopher Dingle and Nigel Simeone (eds): Olivier Messiaen: Music, Art and Literature (Aldershot: Ashgate, 2006), pp. 40–62
  • Dissertations supervised
    • Time altered? Temporal preoccupations in Olivier Messiaen's Saint François d'Assise (2016–17)
    • Pedal technique as ‘a kind of breathing’ in Debussy’s piano music (2015–16)
    • ‘Coming to terms with Wagner’: Identity and Originality in Hans Werner Henze’s Tristan (2012–13)
    • ‘A division of labour’? Complementarity and conflict in Olivier Messiaen’s Visions de l’Amen (2011–12)
    • Correspondences: Duality and Symmetry in the Late Works of Henri Dutilleux (2011–12)
    • The Shadows of Time: ‘Progressive Growth’ in the Orchestral Music of Henri Dutilleux (2010–11)
    • Langage communicable? Modes of Expression in the Music of Olivier Messiaen (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 (2009–10)
    • Iannis Xenakis: ‘Translating Futurism into Sound’? (2009–10)
    • ‘Un reflet dans le vent’: the importance of theme in the music of Olivier Messiaen (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? (2008–09)
    • ‘By Image, By Symbol’: Representation and Symbolism in Olivier Messiaen’s Saint François d’Assise (2008–09)
    • ‘An English Composer’? An assessment of Finzi’s sense of self-identity in his wartime music (2007–08)
    • ‘La toute-puissance de l’exemple’: Olivier Messiaen, composer-pedagogue (2007–08)
    • Messiaen and the Great Western Tradition: an historical and analytical study of the Trois petites Liturgies de la Présence Divine (2006–07)
    • The Music of Benjamin Britten (2005–06)
    • The Music of Peter Warlock (2005–06)