Antje Thierbach | Oboe
Tobias Krebs | Guitar
The motto of the concert, reed, certainly awakens many different, mostly idyllic, associations at first. The widely ramified root system of the plants, the rhizome, on the other hand, evokes completely different associations. Thus, in the early 1970s, Gilles Deleuze and Félix Guattari took up the image of these structures as a metaphor and developed the philosophical concept of rhizomatics, thereby providing essential impulses for the theory of science, media philosophy and cultural studies, among others. The programme of the evening picks up the manifold possibilities of association of the rhizome in some aspects.
Oboe und Gitarre, UA
Im hohen Holz (2016)
Oboe und Zuspielband
Dissipative Gesänge (2016)
Oboe d‘amore und singende Säge
Treibgut II (2016/19)
Oboe und Gitarre
Free admission (donations welcome)
Reeds, the motto of the concert, certainly awakens an idyllic association in the reader/listener at first. Reed fences around lakes. In shallow water it offers shelter and habitat to many species of animals. The pliable plants are almost always more or less strongly in harmonious movement with each other. The oboe, the wind instrument, is also commonly associated with a songlike character, the guitar with the cliché of campfire romanticism.
A special type of reed, the pole reed, Arundo Donax, is essential for the oboe. It is used to make the short-lived reeds with which the vibration and thus the sound is produced. Generally much less in view is the root system of the plants, rhizome. As an extensive system of shoots, it lies close to the ground. On the one hand, individual shoots grow up to 3 cm a day, and on the other hand, 6000 year old intact systems have been found.
In the early 1970s, Gilles Deleuze and Félix Guattari took up the image of these structures as a metaphor and developed the philosophical concept of rhizomatics. In doing so, they provided essential impulses for the theory of science, media philosophy and cultural studies, among others. It replaces the traditional ordering model of the "tree of knowledge", which goes back to antiquity and is hierarchically structured, but also distances itself from the metaphor of the net. In short, rhizomatics means the liberation from defined power structures; many perspectives and many approaches can be freely interlinked. Applied to today's music culture, this means, for example, that boundaries between E- and U-, instrumental and electronic, classical and new music blur, to hierarchical structures of opera houses, orchestras etc. Alternatives emerge, production and reproduction (composer versus performer) move closer together again.
The programme of the evening picks up the described manifold possibilities of association to "Reed" in some aspects. For example, the instrumentation goes back to instruments of antiquity, the aulos and the cithara, and all pieces were created by or for the performers in close cooperation with the composers.
Antje Thierbach, born 1970, grew up in East Berlin and studied modern oboe in Leipzig, Würzburg and Berlin from 1988 to 1997. From 2003 to 2005 she studied historical performance practice and historical oboes with Katharina Arfken at the Schola Cantorum Basilensis in Switzerland. In addition to working with renowned orchestras such as the Konzerthausorchester Berlin, Deutsche Oper, DSO, RSB and others, her concert activities focus on contemporary music. She regularly works with the Ensemble Modern, Klangforum Wien, KNM Berlin, Zafraan, Meitar Tel Aviv, Phoenix Basel and others.
The intensive study of her instrument, especially with regard to new playing techniques, and the work with various composers on the realisation and notation of musical ideas especially for the oboe, has led her to explore music of earlier epochs on contemporary instruments. In the field of historical performance practice she has performed with Akamus, FBO, the Lattencompagney, Kammerorchester Basel, Concerto Brandenburg and many others.
Since 2011 she teaches historical performance practice and baroque oboe as well as new playing techniques on the oboe at the Hochschule für Musik "Hanns Eisler" Berlin.
Tobias Krebs, born 1993 in Zurich, is a Swiss composer and classical guitarist. From 2012-2017 he studied at the Basel University of Music with Michel Roth (composition) and Stephan Schmidt (classical guitar) and graduated with distinction in both main subjects. He is currently continuing his studies at the Det Jyske Music Conservatory in Aarhus (DK), with a focus on the interpretation of contemporary music.
Krebs' works have been performed by renowned ensembles and performers in Switzerland and abroad, such as the Zurich Chamber Orchestra, ensemble recherche, ensemble proton bern, Calvino Trio, Gyre Ensemble, Ensemble Phoenix Basel and the classical guitarist Pablo Márquez. Recently he was a prize winner of the "Trabant" competition organized by Ensemble Phoenix Basel.
In addition to his keen interest in performing contemporary music, he regularly plays concerts of "traditional" classical music from the Renaissance to modern times.