During the last years, Mathis Bereuter (*1993) could establish himself as one of the most remarkable German pianists of his generation and has particularly developed a strong reputation as an exceptional collaborative pianist.
He gained international attention reaching the final rounds of the Busoni competition 2017 and is prizewinner of many international piano competitions like "Clavicologne" and "Mendelssohn Competition". Furthermore he was honored with an award from “Deutsche Stiftung Musikleben” and received the “Diethard-Wucher-Preis” and “Migros Kulturprozent Förderpreis”.
He holds scholarships from the "Studienstiftung des deutschen Volkes", is supported by the Ayame Foundation and has repeatedly received the Promotion Prize of the State of Baden-Württemberg.
Since the beginning of 2019 Mathis Bereuter works as a correpetitor of the string department at the University of Music and Drama Rostock and serves as a faculty member at the University of Arts Berlin at the moment. Mathis Bereuter is regularly invited as accompanist for international competitions such as ARD, Paulo, Joseph Joachim and Viva Hall, and works occasionally as collaborative pianist at the Karajan-Academy of the Berlin Philharmonic and the Komische Oper Berlin. He is highly appreciated as a chamber musician and has worked with musical personalities like Jean Guihen Queyras, Frans Helmerson, Jens Peter Maintz, Ivan Monighetti, Troels Svane, Thomas Demenga, Nora Chastain and the Artemis Quartet.
At the age of twelve Mathis Bereuter passed the entrance examination for the music academy in Basel. His teacher was Prof. Adrian Oetiker, along with Rudolf Lutz who gave him lessons in improvisation. After his abitur he commenced studies in the soloist class of Prof. Klaus Hellwig at the University of Arts in Berlin. He attended masterclasses with Anne Queffélec, Zoltán Kocsis, Piotr Anderszewski, Roland Krüger, Konstanze Eickhorst and Aleksandar Madzar.
In 2005, Mathis made his orchestral solo debut. Concerts have since taken him to the leading music centres in Europe, Middle east and Asia, playing at festivals like Braunschweig Classix, Dannenberger Frühling or Sommets Musicaux de Gstaad. The critics wrote: “…not only was Bereuter clear and precise in playing the notes, but he contributed hugely to the lilt and atmosphere of these romantic works. He’s going to be a talent to watch for the future.” (David Karlin, 8 February 2013, Gstaad). In particular, he has a special connection to Japan playing many concert tours with solo recitals i.a. in the Suntory Hall, Muza Kawasaki Symphony Hall, Kyoto Concert Hall, Osaka Festival Hall, Tokyo Yamaha Hall and at the Kyoto International Music Festival.
Several recordings for BBC, SWR, SR, BR, SRF and radio stations and television channels in the Middle East and Asia document his artistic ability.