Concert on the climate referendum: “Privileged people are particularly in demand in ecological crises”

Ms. Neubauer, you are an activist fighting the climate catastrophe. Together with Maja Göpel and the initiators of Klimaneustart Berlin you will speak in front of the Brandenburg Gate on March 25th. What to expect
We want to raise the upcoming election to the largest possible stage that we have here in Berlin. It will be very creative and also very loud, with a mixture of speakers and activists, plus music and other forms of artistic contributions. The whole thing is not only intended as a show, but above all as a demonstration of climate change.

How does it look?
Neubauer: We want to substantiate what the whole election says: it’s not climate protection that divides us, but the climate crisis that threatens our security and freedom. This day is meant to bring together. It’s about making visible that all generations are there. We all got that. So go vote!

Mr. Brandl, you will open the program with the Orchestra of Change. What role does music play in this event?
I think that’s a great approach and allows us to make a statement for this much-needed referendum. The Orchestra of Change is an association of many orchestra musicians. We realize projects that support the good use of our planet. That’s why we really wanted to be there now.

Your orchestra’s contribution will sit alongside music from Element of Crime to Annett Louisan. How does that go together?
Neubauer: I find it symbolic that the music that is played is so colourful. Climate is not a question of a party, generation or movement. The program, the music, brings us together.

The performed “Carnival of the Animals” also breaks the boundaries in that Saint-Saëns quotes and cleverly mixes diverse music and musical ideas. Why this piece now?
Brandl: I hope not to disappoint if I have to admit that we don’t have a political message in mind. Personally, I think the nature reference of the piece is wonderful. The message lies in saying: we play here and work to make Berlin more livable.

How can Berlin’s artistic scene support commitment to combating climate change?
Brandl: As a representative of classical music, I can only speak for a small circle. As concertmaster of the Staatskapelle, I have been asking myself for years how we can get involved and break down reservations. Our core audience is mostly from the more well-to-do circle. It is particularly interesting there to advertise and to ask: how can we think in new ways?

So what role does music and art play in climate activism?
Neubauer: I don’t think there is anyone in the world who has never been led, guided or protected by music. It is underestimated how vital music is. There has also never been a climate strike in Germany without music. It has always been very clear to us that the revolution needs a soundtrack. What we convey, we do in all languages ​​that are available to us.

Can an artist be apolitical at all?
Neubauer: That’s certainly not up to me to judge. I do wonder though, given the world we live in, is it possible to be apolitical? Indifference is also a political expression, reinforcing ignorance and oppression. Doing nothing is also a political statement. In the last year, this has become very concrete for many: should the invitation to Russia be accepted or not? The world is a political issue in itself, even as a musician you have to position yourself.

How important are the prominent supporters for the movement, for example Igor Levit, who will also play in front of the Brandenburg Gate?
Neubauer: Igor is a role model and inspiration for many. He went out to show what it means to walk through the world as an artist with attitude. He is someone who is always doing definition work and pushing boundaries. I stood with him at the endangered forest and he played the piano. Classical music in particular sometimes has a responsibility to deal with its audience. Who sits there and listens? In such ecological crises, privileged people are particularly asked to use their privileges.

Now there are many other musicians who get involved. You are one of them, Mr. Brandl. What drives you?
Brandl: The topic has occupied me for as long as I can remember. I was already involved when I was in high school in the 80’s. Then I still remember the first project with the Orchestra of Change. That’s when it became clear to me: We have to step out of our cocoon, approach people differently, create different locations and contexts.

I’ve always wondered why nothing is moving when so many people are talking about it. It’s not about restriction, but about the vision of improvement. We want to make our being together more livable.

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