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      <image:title>about - The German flutist Katrin Szamatulski studied with Rolf Bissinger in Frankfurt am Main, with Benoît Fromanger in Berlin and most recently with Pirmin Grehl in Lucerne. There, she successfully completed two Master of Arts in Music degrees, focusing on orchestra performance and instrumental pedagogy. She received important impulses from Martin Fahlenbock, Carin Levine, Eva Furrer, Camilla Hoitenga and Mario Caroli. She participated in the Darmstadt Summer Courses in New Music, the Impuls Academy in Graz, the Ensemble Academy of the Ensemble Recherche in Freiburg and the Klangspuren International Ensemble Modern Academy in Schwaz. She plays regularly in various chamber music groups and ensembles such as Asambura Ensemble (DE), Ensemble SARGO (CH) Duo Zweisam (IS), and is one of the co-founders of the contemporary music ensembles Lunaire (CH), Broken Frames Syndicate (DE) and the chamber orchestras O!contraire (CH) and Contemporary Chamber Orchestra Elbe (DE). As a soloist, Katrin Szamatulski has performed in Iceland, Denmark, Germany, Austria, and Switzerland. Furthermore she played at numerous festivals, including the Swiss Lucerne Festival, the Mixtur Festival (Barcelona), the Vendsyssel Festival and Midt i Marts in Denmark, the Windworks Festival (Iceland), the Frühjahrstage für Neue Musik in Weimar, the Pyramidale (Berlin), the Gaudeamus Muziekweek and the Wittener Tage für Neue Musik. The ensemble Broken Frames Syndicate, in which she is a co-founder and project manager, was part of the German Music Council's "Inszene" ensemble funding programme and a winner of the Ernst von Siemens Music Foundation's Ensemble Prize 2024.</image:title>
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      <image:title>about</image:title>
      <image:caption>As an artist I am interested in all kinds of creative processes: Contemporary classical music gives me the opportunity to work together with living composers and thus to become part of the current music scene, to reflect and influence it. Instead of dealing exclusively with older classical repertoire, as is usual in the traditional classical music business, I want to actively shape the present by playing contemporary music. In turn, when developing concepts, such as concert programmes, I make music come alive in a new way. Through my work, I would like to be able to look at works in a new way again and again and to be able to see them from a different angle. This happens, for example, in mixed programmes (older classical works are juxtaposed with contemporary works), in interdisciplinary programmes (combination with other art forms) or in unusual places (outside the traditional concert halls). It is also very important to me to stimulate my audience through music, to give them experiences and maybe even something to take with them on their way. I believe that no other art form is able to touch people as deeply and connect them across all borders as music can do it.</image:caption>
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      <image:title>projects - Asambura Ensemble - Mach es besonders</image:title>
      <image:caption>Asambura-Ensemble 2017 | photo credit © Ghazaleh Ghazanfari</image:caption>
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      <image:title>projects - Ensemble Lunaire</image:title>
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      <image:title>projects - Ensemble Lunaire</image:title>
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      <image:title>projects - Ensemble Lunaire</image:title>
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      <image:title>projects - Intertwining Arts: MESSIAEN - A BIRDSOUL</image:title>
      <image:caption>photos by Elina Akselrud</image:caption>
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      <image:title>projects - Intertwining Arts: MESSIAEN - A BIRDSOUL</image:title>
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      <image:title>projects - Intertwining Arts: MESSIAEN - A BIRDSOUL</image:title>
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      <image:title>projects - Intertwining Arts: MESSIAEN - A BIRDSOUL - Mach es besonders</image:title>
      <image:caption>Was auch immer es ist – die Art und Weise, wie du deine Geschichte online vermittelst, kann einen gewaltigen Unterschied ausmachen.</image:caption>
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      <image:title>projects - Broken Frames Syndicate</image:title>
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