Classical Music is BAD for the environment?!
Can classical musicians be actively contributing to the climate crisis?
In case you didn’t know, the climate crisis is one of the biggest world crises we’re currently dealing with today.
If you’re living in the west coast you might be dealing with raging wildfires or if you’re living in the midwest you are dealing with record summer temperatures that feel like the depths of hell you most likely are feeling the direct impacts of climate change but what about those of us sitting innocently in the practice room playing our instrument?
Those of us who are classical musicians don’t consider ourselves as contributors to this crisis, we don’t work for the fracking industry and we are not lobbying for oil, however, we are consumers of products that do contribute to climate change and maybe even inadvertently associate ourselves with those who do contribute to the climate crisis. For example, my clarinets happen to be of the Greenline Buffet series. These instruments are comprised of carbon fibers and grenadilla powder. But what about reeds? What about all those special tools and goodies like bells and barrels?
Oh yeah, traveling. We want to be big time musicians that travel the world. Travel is important but it can also be a big contributor to greenhouse gases or what about that piano that needs the temperature regulated so it stays in tune (in my universe it never works it’s still flat...uggh!).
The other thing that we have to consider is sponsorship (because we clearly an incapable society that cannot come up with a system where musicians can get paid what they’re worth). Many of these large ensembles like orchestras and opera companies have large corporate sponsors that might not align with the concerns for the environment.
So what’s a musician to do? We all have to make a living. Here are 3 ideas that I have about how to reduce the evil carbon footprint.
Go Local
Try to find ways to create community by building on relationships in your community and neighboring communities. Performing and making profit should always be a priority (no starving artist mentality here please) and you should try to do it locally, not just abroad. Providing creative programming locally can be an awesome way to build relationships with your neighbors and build your portfolio. Consider this, local performances can attract local arts councils and other high level professionals who seek the arts - make yourself known! Make a list of conventional and non conventional spaces and venues with contacts of who to get in touch with and take note if they have a piano. Pro tip: Don’t limit yourself to only music performances, collaborate with other artists in the community with different disciplines and be a collective (hmmm...what a great grant idea...you’re welcome).
Invest in a good instrument and equipment
This can be a tough one because instruments are definitely more expensive now. Accessories are not normally as expensive but they can be. Consider this, you don’t want to have to keep buying things because you didn’t get the best equipment you could. Nothing worse than the accessory you bought a month ago, like that cheap ligature, and now look, it broke and now you have to replace it. With these sorts of things, have your teacher or trusted colleagues recommend instruments and equipment. You might have to do some sleuthing around to find the best deals or to find equipment that is a good match for your musical needs. You might even consider purchasing a high quality instrument or other equipment that is gently used. Pro tip: You want an instrument that can be easily repaired. If you have special features or even worse cheap parts it can lead to more money and more waste. Your repair person will have to charge you more or/and you might have to send your instrument to the factory, where ever that is, to get it repaired (stress levels and your carbon footprint will rise).
Take inventory of what you do use and if there is an alternative
For example, If you find that you are like me and use cane reeds, as opposed to their synthetic sisters, it might be worth trying synthetic reeds. Legére is a very popular brand but other brands are popping up too. They are not cheap. One reed is roughly around $30 USD but it will be the only reed you will need (at least that’s what the diehards say). If you go this route, give yourself time to adjust. Many players don’t anticipate this, how you approach the reed to get the proper range and tone you want will probably feel different so prepare for that. I also recommend getting more than one, it would be disastrous if you lost that one reed. Schedule time to test out these reeds. You will need to test out which types of reeds work best for you and there are many varieties of sizes and cuts. Consider your mouthpiece, your embouchure and pitch tendencies when choosing a synthetic reed. If you have friends or colleagues that play on synthetic reeds, reach out to them and get their thoughts and see if they would be willing to let you try their stash of synthetic reeds.
Well, that’s it for now. I’ve given you my carbon foot 2 cents.
