You recently performed Gregor Mayrhofer’s Recycling Concerto with hr-Sinfonieorchester Frankfurt. Could you tell us a little bit about this composition and what makes it so unique?

I recall the prevalence of plastic bags and bottles in various sizes during my childhood- large piles of discarded plastic scattered in nature or washed ashore from the sea were a persistent concern. Despite a growing awareness, I witnessed our plastic production escalate rather than diminish as I matured. While I endeavoured to minimize my plastic consumption — adopting small changes like purchasing wooden toothbrushes and consistently bringing reusable bags for grocery shopping — it seemed that many around me remained oblivious to the omnipresence of microplastics and the devastating impact on wildlife.

When composer Gregor Mayrhofer approached me with the idea of creating a trash concerto, focusing on solutions rather than the problem, I enthusiastically embraced the concept. Through our passionate exchange of ideas, the idea of the Recycling Concerto was born. Our aim was not only to raise awareness but, more importantly, to convey a message of hope. If musicians could produce music from discarded items, turn old plastic bottles into literal instruments, and bring old plastic bottles to sing, then a sustainable solution must exist. We believe in the unique creativity and problem-solving abilities of humankind. With a genuine commitment, we can and will address this issue — that is our belief, and it is the essence of the Recycling Concerto.

Regarding instruments, we utilize a diverse range of recycled percussion instruments. Discarded plastic containers are repurposed as drums, metal sheets serve as tamtams, and even washing machine drums are incorporated, alongside pots, pans, and tin cans. Discarded glasses and bottle caps are transformed into shakers, while used coffee capsules take on the role of rustling chimes. The materials, conventionally seen as waste, not only contribute to rhythm but can also be crafted into melodic percussion instruments. For instance, 21 flower pots construct an almost 2‑octave flower pot glockenspiel, and 23 glass bottles, tuned with water, create a 2‑octave xylophone. The pinnacle of recycled mallet instruments is the ​‘flair drum’, made from 45 plastic bottles tuned by air pressure, forming a 3 3⁄4 recycled marimba.

Not only the soloist but also the orchestral musicians are challenged to play with recycled instruments. Plastic bottles serve as dampeners for the brass section, and woodwinds craft their marmalade glass shakers from home trash. Even the conductor throws plastic bags. The concerto comprises four movements, starting with ​‘The Happy Tsunami of Wealth’, reflecting today’s consumerist society. From the second movement onward, the soloist exclusively plays on recycled instruments. ​‘Meltdown – Meltup’ acts as a colossal recycling machine, melting sounds together in a 12-tone passacaglia closely related to Charles Ives’ ​‘The Unanswered Question’. The third movement, ​‘The Plastic Bottle Cadenza’, offers a fun and groovy solo for the soloist, surprising the listeners repeatedly with unexpected sounds from two plastic bottles. The final movement, ​‘Recycling Music’, concludes with energetic recycled motifs but ends with a subtle nod to Charles Ives’ trumpet motive, hinting at the unanswered questions that remain in our challenge for a sustainable world.

Do you think it will become more commonplace in the future to have pieces like this featured in concert programmes?

Music, literature, and art have consistently served as reflections of our most pressing concerns, be they social or natural. In Mozart’s era, ​‘Figaros Hochzeit’ caused quite a scandal — depicting a servant as superior to his master challenged societal norms. Similarly, Beethoven, deeply moved by the European idea and democratic principles of liberty, equality, and fraternity, infused these strong emotions into his music.

As long as contemporary challenges persist, composers and musicians will continue to address them in their repertoire. The arts have historically been a mirror to the times, capturing the essence of our societal and environmental concerns, and this trend is likely to persist in environmental topics as long as these challenges remain at the forefront of our existence.