About

Tabea Hörsch grew up with classical music and developed a growing interest in playing in bands and ensembles of various stylistic backgrounds, as well as in improvisation and composition. This led her to pursue a degree in artistic jazz cello at the Cologne University of Music and Dance (Bachelor of Music, Jazz/Pop, Violoncello). There, she studied with Gunther Tiedemann, Axel Lindner, Dieter Manderscheid, and Shannon Barnett. Since then, she has been active in the Cologne music scene.

As a cellist and composer, she is involved in ensembles such as Emajamaa (handpans, cello, drums) and HARB (violin, cello, electric guitar, drums). In these contexts, she uses the cello in a versatile way: employing extended techniques, improvisational approaches, functioning as a bass instrument, playing chordally, or taking on a melodic role.

In addition, she is a permanent member of various ensembles, including Samhita (sitar and crossover ensemble), Lavandula (saxophone, viola, cello, double bass, drums), Emil’s Searching (saxophone, violin, cello, bass, drums), the Miriam Ast Trio (voice, cello, piano), and Alys (cello, guitar, drums).

She has collaborated with singer-songwriters such as Mayiia, Margo, Nora Beisel, Big Sorry, Knatterbunt, and LIZART, accompanied theatre productions including MC Messer by UAER e. V. as well as the Climate, Mediterranean, and NSU Monologues by Wort- und Herzschlag e. V., and works as a session and studio musician.

Tabea Hörsch is a member of the Klangfabrik Scoring Orchestra and is supported by Live Music Now.

Alongside her artistic work with the cello, Tabea Hörsch has a strong background in music education. This is based on her studies in primary school education and theatre pedagogy at the Heidelberg University of Education. In addition, she completed seminars in cello pedagogy at the Cologne University of Music and Dance as part of the instrumental pedagogy profile.

She currently teaches both privately and as a cello teacher at the Music School of Krefeld. Alongside technical training and the traditional cello repertoire, she considers it essential to create space from the very beginning for creativity, free playing, improvisation, and extended techniques.

At the center of her teaching are always the individual interests and learning approaches of the students, their enthusiasm for the cello and for music, and making music together.