{"id":30588,"date":"2022-10-22T12:24:43","date_gmt":"2022-10-22T12:24:43","guid":{"rendered":"https:\/\/philharmonia.lviv.ua\/?p=30588"},"modified":"2022-10-22T18:07:49","modified_gmt":"2022-10-22T18:07:49","slug":"norbert-rodenkirchen-in-ukraine","status":"publish","type":"post","link":"https:\/\/philharmonia.lviv.ua\/en\/media\/norbert-rodenkirchen-in-ukraine\/","title":{"rendered":"Norbert Rodenkirchen during Lviv Early Music Festival in Ukraine"},"content":{"rendered":"

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The XIX International Lviv Early Music Festival invited the <\/span>ensemble “Sequentia” <\/b>which performed the world-famous medieval music programme on August 14: Songs of the medieval warrior (8th-10th centuries) and Two Scenes from the Beowulf Epic. In the conversation with <\/span>Roksolana Kit<\/b> one of the members, flautist<\/span> Norbert Rodenkirchen<\/b> shared several observations and reflections on Ukrainian music and the current situation.<\/span><\/h4>\n

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It was the second time in Lviv for Norbert Rodenkirchen. Firstly, in 2008, he was invited by <\/span>Roman Stelmaschuk<\/b> to this Festival, and played recital music solo and also\u00a0<\/span>baroque\u00a0recital with Svitlana Shabaltina.<\/p>\n

Norbert Rodenkirchen<\/b>, who studied flute and Baroque traverso with G\u00fcnther Hoeller and Hans Martin Mueller at the Musikhochschule Koeln, has been the flute player of Sequentia since 1996 and also works regularly with the French ensemble Dialogos directed by Katarina Livljanic. With both ensembles and also with his medieval solo programs Norbert Rodenkirchen has been invited to numerous international festivals beween Vancouver, London, Melbourne, Paris and Boston. He is also much in demand as a composer of music for theater and film as well as a producer for CD projects. Additionally, he founded the ensemble Candens Lilium which specializes on a dialogue between medieval music and modern avant-garde.<\/h6>\n

The first impressions of Ukraine now<\/b><\/p>\n

I was very impressed by the joy at the train station where many women and children came back for, maybe, a certain time to visit their husbands. So they imposed a very special emotion and felt melancholic. I saw that children were so happy to come back to their city, to the country, even if it is only for a short time. It was great to see.<\/span><\/p>\n

Now there are happy children but on 24 February it was terrible for them. There were many women with children who just kept their lives.\u00a0<\/span><\/p>\n

Way to perform both early music and contemporary music<\/b><\/p>\n

I started with modern flute and during my study, I was interested in all kinds of music for ensembles and also, in jazz music. Also, I found I like to improvise a lot, but I felt I\u2019m not so drawn to this special language of jazz. I didn’t feel this in my identity. But I was discovering early music pretty late, first I played Mozart like everybody else. When I was studying, I was amused by the sounds of wood flutes. Used it first for experimental or for modern music with sound experiments. But I liked to play in early music groups and I learned a lot, and of course, the most important was when I turned in to my friends from the ensemble \u201cSequentia\u201d and they invited me to play (I was 30 years old). It’s already a long time ago but that’s how it started. First came new music and theater music and then I stepped into early music. It’s a very special personal way I went.\u00a0<\/span><\/p>\n\n\t\t