The Barbican Centre’s 2025-26 concert season, Fragile Earth: Sounds of a Living Planet, brings the connection between music and nature, and its vulnerability to climate change, to the fore.
The chamber orchestra Britten Sinfonia embraced the theme with their contribution, Nature and Rapture: Recycling Concerto, which took place on March 12 and 13. The concerto was written by Gregor A. Mayrhofer for the virtuosic percussionist Vivi Vassileva. Together, the pair have collected and tuned an enormous battery of percussion from repurposed rubbish.
The stage presented a striking array of litter, including an enormous plastic bottle marimba, a wall of tuned glass bottles, discarded flower pots, cooking pans and a washing machine drum.
The first movement, The Happy Tsunami of Wealth, emerged with the crackling and rustling of plastic bags as Vassileva threw them across the stage. She then, with astonishing accuracy, used makeshift single-use beaters such as corks, plastic lids and coffee capsules, throwing them at the traditional tuned percussion and leaving them discarded on the floor. The music built to a dense sound, described by Mayrhofer as “an insurmountable pile of acoustic rubbish”.
In the second movement, Meltdown Meltup, the mood of the piece moves from joy and abandon into reflection, recycling music from the first movement. It also references the theme from Charles Ives’s The Unanswered Question as recognition that we don’t have the answers yet, but we can’t just sit back and let this assault on our planet continue.
In the Plastic Bottle Cadenza, Vassileva performed a virtuosic cadenza with just two plastic drinking bottles that changed pitch as she released air from them. Mayrhofer and Vassileva have made something quite stunning out of rubbish. The beautiful sounds of the unique instruments provide quite the juxtaposition to the pile of used bottles, pans and pieces of non-descript metal with which they started.
In the final movement, Recycling Music, Mayrhofer continues to recycle existing themes within the composition. Several of these are taken from the advertising jingles of some of the biggest polluting corporations in the world – think soft drinks, fast food, coffee and communications companies. These themes weave into the performance like a musical naming and shaming.
The orchestra, soloist and conductor brought the performance to a peaceful close, quoting again The Unanswered Question, ankle deep in plastic bags, discarded lids and other rubbish. It was a visually and aurally striking end to a moving plea to take more care of our environment.
From the noise of pollution to the sounds of nature
The second half of the evening opened with a breathtaking performance of Einojuhani Rautavaara’s Cantus Arcticus: Concerto for Birds and Orchestra. Rautavaara combines recordings of birdsong, recorded in the Arctic Circle and the marshlands of Limnika, with the orchestra, creating an immersive experience of music and nature combined.
The first movement, The Bog, opens with two flutes calling and answering to one another. They’re soon joined by a recording of marsh birds. The movement evolves with instruments mimicking the birdsong.
I was completely absorbed by the sound-world, often unable to differentiate between true birdsong and the orchestral imitations.
Movement two, Melancholy, begins with the call of the shorelark, but transposed down two octaves, described by the composer as a “ghost bird”. This is accompanied by a chorale-like structure, first in strings only until it builds to a full orchestral sound that is almost overwhelming for a short time before quickly fading back to nothing.
The final movement, Swans Migrating, features the call of the whooper swan which builds to a cacophony of music and birdsong, fading in the final few moments of the piece. It is a beautiful expression of nature that was a striking contrast to the first half of the concert.
Shoel Stadlen
The concert closed with Beethoven’s Symphony No. 6 Pastoral, which is truly evocative of the environment. The five movements describe the countryside while portraying Beethoven’s emotional connection to nature.
I left the concert on a musical high, but also feeling reflective. To hear the sounds of nature as experienced by Beethoven, an early 19th-century nature enthusiast, in the same programme as the Recycling Concerto was extremely thought-provoking.
Musicians are increasingly using their craft to communicate the climate crisis. This potential to influence audiences in their attitudes to the environment is currently a subject of research, for example at the Influencing Environmental Values Through Music research group at the University of Sheffield.
In the orchestral music sphere, intentional programming to address the climate crisis is starting to become more common. Ensembles like the Orchestra for the Earth aim to inspire audiences to connect with and care for the natural world. Julie’s Bicycle is an international non-profit supporting creative organisations to take climate action in their practices, and in terms of engaging their audiences, and the Association of British Orchestras offers guidance to help orchestras operate sustainably.
If music can convey the message of environmentalism to audiences, as research suggests, then cultural organisations could be said to have a duty to take action. There is research that shows audiences for classical music are in decline and lack diversity. Further research explores the motivations of audiences attending cultural events: sustainability messaging could be a way to reach out to a new audience for whom this is an important issue.
Britten Sinfonia, with its innovative approach to programming and public engagement, is well placed to lead the way.
The climate crisis has a communications problem. How do we tell stories that move people – not just to fear the future, but to imagine and build a better one? This article is part of Climate Storytelling, a series exploring how arts and science can join forces to spark understanding, hope and action.
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