“Flawless intonation ... an intimacy of expression” – Susanne Szambelan, the Polish cellist from Berlin

Let’s return to Berlin. How did people receive you when you arrived here?

- I felt at home here right from the start, although of course, it was a culture shock to some degree. I met people from all walks of life, all in one place, and that’s exactly why I felt that I belong here. There was a lot that was new and fascinating. Berlin opened up new perspectives for me, and expanded my horizon. I started going to concerts, as well as experimental events and plays. I still do that today. That’s why I love living here: this city surprises you time and time again.

What about your musical reception?

- At the university, I was assigned to a wonderful professor, Stephan Forck. He devoted a lot of his time to teaching me. I completed my bachelor’s degree under him. On the one hand, I got to know the city, and on the other, I spent hours working in the practice room. This was an absolute priority, as I had to catch up on a lot of things. People have a very different attitude towards music here.

What is the difference?

- In Poland, I studied under Dominik Połoński, who placed a great deal of emphasis on individuality. Of course, that’s very important. But I was lacking an analytical approach, the ability not only to feel the music, but also to understand it. Here, the musical material is taken much more seriously. You work systematically on every accent, every notation mark. At the university in Berlin, the main focus was on practising pieces and expanding your own repertoire. By contrast, in Kraków, I was given an excellent education in music theory with outstanding teachers who taught their subjects with passion.

Where do you feel most comfortable, playing chamber music or in a large orchestra?

- Definitely playing chamber music. I already dreamed of doing just that when I was a teenager. At that time, I was inspired by the Hagen Quartet from Salzburg, whom I still really admire today. I have been madly in love with chamber music ever since hearing one of their albums for the first time. It has a very special place in my heart. Recently, I joined the “Lyatoshynsky Trio” piano trio, and now have my own ensemble. I’m still dreaming of playing in a quartet, though.

How is your repertoire decided? How much influence do you have over which pieces you perform?

- That depends on several factors. If it’s a project that I have initiated myself, then of course, I decide what to play. But if I’m invited to perform at an event, the situation is very different. What I love most about being a freelancer is the variety of the work. I like being involved in different projects in totally different areas of classical music.

What are you currently working on?

- At the moment, I’m investing most of my love and energy in the “Kodály Reframed” project. The focus of the project is the “Sonata for Solo Cello” by Zoltán Kodály. This Hungarian composer created so many works based on folk music and these influences can be clearly heard in the sonata. Through my collaboration with the wonderful saxophonist Hayden Chisholm from the jazz world, we were able to extend the sonata with an improvisation. I am incredibly enthusiastic about the project. This combination is so unusual and exciting. We’re definitely going to continue with the project after getting a very positive reception from audiences in Germany and New Zealand. I’m also involved in the “ensemble menajiri” interdisciplinary project, which was initiated by Michaela Catranis, an outstanding composer. We’re working on a completely new concerto form which will be premièred this year. Michaela’s composition will be an unusual journey, a kind of “road concert”. The audience will have the opportunity to walk among the musicians and experience the music through different senses. The central motif is the close interrelationship between people and their subconscious and nature.

Have you tried composing yourself?

- No, I’ve never felt the need. I absolutely love improvising, though, and am trying to develop my skills further in this direction.

Who are your favourite composers?

- That’s a hard question to answer. The first names that come into my head are Ludwig van Beethoven and Béla Bartók. Their works move me very deeply when I hear them played live. Recently, though, I went to a concert in the Hamburger Bahnhof (a former railway station turned arts venue – translator’s note), where music by Gérard Grisey was played. One piece, “Le noir de l’étoile”, was written for solo percussion. The thousand people in the audience sat on the floor and were surrounded from all sides by the musicians. The piece is about the universe, and it literally transported us into another dimension. There are composers, like Grisey, who can really enthral an audience, even if they’re not nearly as well-known or haven't garnered as many accolades as Beethoven, for example.

One of the most unusual projects that you’ve been involved in so far is Musethica. What was this project about, and what made it so special?

- It was a fantastic project, in which chamber music was played in unusual locations – for audiences who couldn’t make it to a traditional concert. For example, we played for hospital patients and people with disabilities, as well as prisoners. We performed in front of a huge range of different people. Sometimes, we played for people knowing that this would be the last concert of their lives – or, in other cases, their first concert. It was incredibly emotional, and it was one of the most formative experiences of my life.

In Berlin and throughout Germany as a whole, there are an increasing number of classical musicians with Polish roots. How are they received by the institutions involved and by audiences?

- What I generally love about Berlin and Germany is that here, it’s your skill that counts for most, and not where you come from or who you know. When Polish musicians attract acclaim here, then it’s because they’ve earned it through their skill and outstanding playing, and not because of where they come from.

The interview was conducted by Monika Stefanek, March 2025

The artist’s website: https://susanneszambelan.com/