Matthew Whiteside is in his final year of the Royal Conservatoire of Scotland studying a Masters in Composition with Alistair MacDonald and David Fennessy with previous teachers including Piers Hellawell and Gareth Williams. He is a founding member of Edit-Point and Said Ensemble, both Glasgow based new music ensembles.
Matthew’s interest lies in the combination of acoustic and electronic domains both through using live electronics and electronic influences in his work. When using electronics he is careful to give them a distinct personality in order for it to be an integral part of the ensemble.
He has had performances of his music throughout the UK, Ireland and Italy with notable performances being Dublin’s Nation Concert Hall, Glasgow City Halls and as part of Sonorities Festival in Belfast.
Matthew extends his thanks to the RSAMD/RCS trust and May Turtle scholarship for funding his Masters education.
Completed – or so he thought – at the moment of his country’s greatest peril with Hitler’s forces camped in the Moscow suburbs, Sergei Prokofiev’s operatic adaptation of Tolstoy’s War and Peace must have seemed a powerful and patriotic artistic response to the horrors of the conflict engulfing his homeland. But it didn’t work like that in Stalin’s world.
Even in the depths of danger Soviet cultural commissars were alive to the taint of bourgeois sentiment and the composer spent more than a decade revising his score under increasing duress to please his political masters. In the end, dying as he did on the same day as Stalin in 1953, he never lived to see his work performed in its entirety.
Later this month British audiences will be treated to the world premiere of the “de-Sovietised” version of the operatic masterpiece written as Prokofiev intended it when it is performed by The Royal Scottish Academy of Music and Drama and Scottish Opera at the Theatre Royal in Glasgow before moving to the Edinburgh Festival Theatre.
Read the full article in The Independent here.