If Markus Bruggaier wants to describe what his orchestra wanted, he talks about the sinking of the Titanic: When the then largest ship in the world collided with the iceberg and disappeared in the calm, almost noiseless sea, the on-board band played almost until, according to eyewitness reports the North Atlantic had completely absorbed the colossus - to calm the passengers.
"Fortunately, however, there is a difference: We see the iceberg coming and want to change course before it's too late."
The horn player at the Staatskapelle Berlin is one of the growing number of cultural workers who are committed to climate protection in the orchestra industry. After the 2009 climate conference in Copenhagen, the results of which he calls frustrating, he and other members of the Staatskapelle Berlin founded the association “Orchester des Wandels”. "We have been organizing climate concerts for a good ten years, the proceeds of which flow into a reforestation project in Madagascar," explains the musician. The wood of the ebony trees there is as sought-after as it is threatened: Because of its high density, it is particularly suitable for fingerboards of instruments, especially for guitars, but also for violins. “Ninety percent of the forests there have now been destroyed. And that not only harms instrument construction, but also dramatically affects the climate, ”he says.The Berlin initiative radiated: In the meantime, 25 orchestras in Germany have joined forces in the newly founded association “Orchester des Wandels Deutschland eV” and are supporting a new Madagascar project with an amount of at least one thousand euros annually, for at least ten years, to create new trees there to plant. They also support other international and regional initiatives.
Turn the green screw
The “Orchestra of Change” is one of numerous projects in Germany that aims to harmonize climate protection and the cultural sector.
Many organizers are already advertising that they offset their carbon footprint by promoting environmental projects around the world.
The “Orchestra of Change” has also drawn up detailed guidelines on how ensembles can reduce their emissions on site or while traveling.
However, the topic of CO reduction also raises questions that affect the industry's self-image: How should publicly financed orchestras fulfill their cultural mandate in the future when long-distance travel has a negative impact on the CO balance?
How can guests be made aware of a more climate-friendly approach?
The answers vary depending on who you ask.
And there is a lot going on.