Máté Szücs was a first prize winner on viola at the International Violin and Viola Competition in Liège, Belgium. He was also a finalist at the International Viola Competition
‘Jean Françaix’ in Paris and laureate of the International Music Competition ‘Tenuto’ in Brussels.
Szücs was just eleven when he won the special prize at the Hungarian Violin Competition for Young Artists. He went on to win first prize at the Violin Competition of Szeged and first prize for ‘Best Sonata Duo’ at the Hungarian Chamber Music Competition. At the age of seventeen, he changed from the violin to the viola and graduated from the Royal Conservatory of Brussels and the Royal Conservatory of Flanders with the highest distinction. He continued his studies at the Chapelle Musicale Reine Elisabeth where he obtained his diploma, again, with the highest distinction.
Szücs is a member of various chamber ensembles such as the Mendelssohn Ensemble, Trio Dor, Enigma Ensemble and Fragments Ensemble. He has been a solo viola player with various prestigious orchestras such as the Royal Philharmonic Orchestra of Flanders, the Bamberger Symphoniker, Sächsische Staatskapelle Dresden, the Frankfurt Radio Orchestra and the Deutsche Kammerphilharmonie Bremen.
Szücs is a very enthusiastic teacher and has previously held a teaching position at the University of Music in Saarbrücken, the Thy Chamber Music Festival in Denmark and is also viola tutor at the Britten-Pears Young Artist Programme in Aldeburgh, UK. Szücs is regularly invited as a soloist in Europe and plays chamber music together with musicians such as Janine Jansen, Vadim Repin, Ilja Gringolts and Vladimir Mendelssohn. Since September 2011 he has been the principal solo viola player at the Berlin Philharmonic Orchestra, where he teaches viola at the orchestra academy.
American Record Guide
'This recording has the advantage of firstrate sound, a superb horn player who is at least the equal of Brain or Tuckwell with an even greater range of tonal nuance, and a singer who simply has a more pleasant sound than Pears.'more >>Fanfare
'...the ensemble is particularly impressive in the hushed sections, playing with exquisite beauty and control...'more >>Crescendo
'...extraordinary performances, aided by top-notch soloists..few recordings satisfy as much as this one, with deliberate, but intense, readings...'more >>Forum Opera
« Le piano de Lorenzo Soulès en offre une interprétation étincelante...Le raffinement de Britten est servi en maître dans ce jalon d'une musique. »more >>Voix des Arts
Recording of the Month: 'Clayton establishes himself as a triumphantly worthy successor to Pears...Clayton's voice is both more beautiful and more secure throughout the range than Pears's, but the forthrightness with which he limns the distress of lines like ‘O rose, thou art sick' recalls Pears's interpretive perspicuity.'more >>Pizzicato
'..the soloists are one and all excellent, as are the exceptionally good Aldeburgh Strings.'more >>The Guardian
'urgent, vibrant and punchy'more >>Gramophone
'All are performances to be recommended.'more >>The Sunday Times
'These performances by the Aldeburgh-inspired ensemble vividly affirm Britten's genius.'more >>MusicWeb International
'One is struck by the beauty and security of their quiet playing - a virtue which comes to the fore also in the gorgeously lyrical Prelude. The accompanying Fugue, meanwhile, is a contrapuntal tour de force, and tossed off here with notable verve and aplomb.'more >>Der neue Merker
'Britten's short but magnificent tone poem…bursts with radiant vitality, rises in iridescent tones before us...'more >>Classic FM
'...the playing of the hornist Richard Watkins is also truly exceptional...a performance so worth treasuring.'more >>