Note-worthy Experiences Music Studio
F E A T U R E
Interview with Aleksandre Roderick-Lorenz
F E A T U R E
Interview with Aleksandre Roderick-Lorenz
How old were you when you first learned to play an instrument?
My first instrument was actually voice (I began to sing when I was about 8 years old) and then I learned how to play guitar and a folk instrument from my native Venezuela known as “El cuatro.” I had a rather late start on the viola in my teen years, but it soon became evident that my heart had been stolen forever.
Did you always think of yourself as a musician?
From my earliest memories, I remember music as having a powerful impression and a strong presence in my life. This affinity continued to grow and became significantly more prominent and meaningful over time. I am a firm believer that musicians see, feel and hear the world differently. I think I have always seen myself as a musical being because listening to a tune has never been an ordinary affair to me, but rather, one where I’m deeply involved with all of my senses.
Who were some of your most inspiring teachers?
I have had my share of both, uninspiring teachers and inspirational teachers. From the first category I learned just as much as from the latter. Since I began my musical journey so late, I was old enough to discern between people who genuinely wanted to help me, and those that didn’t truly have an interest. I found teachers along the way that were able to understand my talent and shape it and they are and will always be close to my heart. From bad teachers I learned that I wanted to become the best educator I could be to help others, so that they did not have to endure the poor instruction that at times, I had experienced. This is a very important métier that is central to my pedagogy as it is my hope to serve my students openly and with a welcoming desire to help them achieve what they want with their instrument. Amongst my most treasured teachers, I have to thank María Salas for starting me on the viola and my mentors, Laura Bossert and Terry King, for their kindness and for being a constant inspiration as both, players and teachers.
What was your most memorable performance?
I remember speaking to my friends after having performed Beethoven’s Septet, about the crazy idea of putting together the humorous Schleptet by PDQ Bach. They all quickly agreed to do it under the condition that I accepted to be their conductor. A couple of weeks later, we got to perform the work for maestro Peter Schickele (the composer himself!!!) who was rather sensational and extremely humorous.
How often did you practice when you were a kid and how have your practices changed since you became a professional?
I think this has definitely changed over time and it varies depending on multiple factors. When I started to play, I loved spending hours with my instrument and listening to recordings (something that until this day, is very important to me). I think we can learn so much as musicians from listening as we do from playing. There is obviously a physical (let’s call it tactile) side to the playing, but there is also a very important psychological side to it as well, which happens internally. I think that throughout the years, I have become a more intelligent “practicer” and I try to encourage my students to learn efficiently vs. wasting hours practicing without accomplishing much. I tend to base my practice routines on what I have on my stand. For example: if I have to prepare a solo concert or recital, the process can take months whereas if I’m playing a concert with the symphony, then I might have to condensed the learning to as little as a week (sometimes less).
What do you like most about teaching young musicians?
I love teaching and I am fascinated with it. I believe teaching comes from sharing. I like to help each and every one of my students develop their gift and understanding of music. Learning to play an instrument is a formative, fun and inclusive process for both docent and student. I enjoy seeing my pupils progress and ultimately, finding their voice and telling their own story through music. I enjoy learning from all of my students and getting to know them. All my pupils can testify that whilst we can have a lot of fun together when it comes to learning, I expect them to practice and be prepared for their lesson every week.
What is your best advice to students who want to learn a new instrument or improve their playing?
I encourage my students to learn how to think outside of the box. Wonderment and experimentation is key to develop a broad understanding of music and how to approach our instruments. This also makes the journey more fun and enjoyable. I like to tell my students to remain creative, open and engaged in their practice in a way that is constantly seeking exploration and where judgment is reserved only for the purpose of observation.
Which are some of the highlights of your career?
There are many memorable moments that I cherish and that I have to thank music for.
In 2012, I had my first internationally televised interview at the Spanish talk show “Despierta America”. In 2015, I became the recipient of a Certificate of Appreciation from Miami Dade County Office of the Major and Board of County Commissioners in recognition of my artistry and work in South Florida. In 2019, I had my national radio debut at WQXR’s McGraw Hill Financial Young Artist Showcase with Robert Sherman and I became the recipient of the diploma of Teaching Excellence at Syracuse University. I also feel extremely grateful for becoming a 1st price medalist for two competitions in Florida and one in New York. I am excited to announce an upcoming locally televised interview with Dracut Television in the fall of 2020, where I will be featured as a Teaching Artist.
When you are not performing or teaching what do you like to do?
When the case is closed, I enjoy travelling, shopping, visiting friends, learning French, reading, dancing salsa and exercising.
Learn more about Alek on his Teacher Page.
My first instrument was actually voice (I began to sing when I was about 8 years old) and then I learned how to play guitar and a folk instrument from my native Venezuela known as “El cuatro.” I had a rather late start on the viola in my teen years, but it soon became evident that my heart had been stolen forever.
Did you always think of yourself as a musician?
From my earliest memories, I remember music as having a powerful impression and a strong presence in my life. This affinity continued to grow and became significantly more prominent and meaningful over time. I am a firm believer that musicians see, feel and hear the world differently. I think I have always seen myself as a musical being because listening to a tune has never been an ordinary affair to me, but rather, one where I’m deeply involved with all of my senses.
Who were some of your most inspiring teachers?
I have had my share of both, uninspiring teachers and inspirational teachers. From the first category I learned just as much as from the latter. Since I began my musical journey so late, I was old enough to discern between people who genuinely wanted to help me, and those that didn’t truly have an interest. I found teachers along the way that were able to understand my talent and shape it and they are and will always be close to my heart. From bad teachers I learned that I wanted to become the best educator I could be to help others, so that they did not have to endure the poor instruction that at times, I had experienced. This is a very important métier that is central to my pedagogy as it is my hope to serve my students openly and with a welcoming desire to help them achieve what they want with their instrument. Amongst my most treasured teachers, I have to thank María Salas for starting me on the viola and my mentors, Laura Bossert and Terry King, for their kindness and for being a constant inspiration as both, players and teachers.
What was your most memorable performance?
I remember speaking to my friends after having performed Beethoven’s Septet, about the crazy idea of putting together the humorous Schleptet by PDQ Bach. They all quickly agreed to do it under the condition that I accepted to be their conductor. A couple of weeks later, we got to perform the work for maestro Peter Schickele (the composer himself!!!) who was rather sensational and extremely humorous.
How often did you practice when you were a kid and how have your practices changed since you became a professional?
I think this has definitely changed over time and it varies depending on multiple factors. When I started to play, I loved spending hours with my instrument and listening to recordings (something that until this day, is very important to me). I think we can learn so much as musicians from listening as we do from playing. There is obviously a physical (let’s call it tactile) side to the playing, but there is also a very important psychological side to it as well, which happens internally. I think that throughout the years, I have become a more intelligent “practicer” and I try to encourage my students to learn efficiently vs. wasting hours practicing without accomplishing much. I tend to base my practice routines on what I have on my stand. For example: if I have to prepare a solo concert or recital, the process can take months whereas if I’m playing a concert with the symphony, then I might have to condensed the learning to as little as a week (sometimes less).
What do you like most about teaching young musicians?
I love teaching and I am fascinated with it. I believe teaching comes from sharing. I like to help each and every one of my students develop their gift and understanding of music. Learning to play an instrument is a formative, fun and inclusive process for both docent and student. I enjoy seeing my pupils progress and ultimately, finding their voice and telling their own story through music. I enjoy learning from all of my students and getting to know them. All my pupils can testify that whilst we can have a lot of fun together when it comes to learning, I expect them to practice and be prepared for their lesson every week.
What is your best advice to students who want to learn a new instrument or improve their playing?
I encourage my students to learn how to think outside of the box. Wonderment and experimentation is key to develop a broad understanding of music and how to approach our instruments. This also makes the journey more fun and enjoyable. I like to tell my students to remain creative, open and engaged in their practice in a way that is constantly seeking exploration and where judgment is reserved only for the purpose of observation.
Which are some of the highlights of your career?
There are many memorable moments that I cherish and that I have to thank music for.
In 2012, I had my first internationally televised interview at the Spanish talk show “Despierta America”. In 2015, I became the recipient of a Certificate of Appreciation from Miami Dade County Office of the Major and Board of County Commissioners in recognition of my artistry and work in South Florida. In 2019, I had my national radio debut at WQXR’s McGraw Hill Financial Young Artist Showcase with Robert Sherman and I became the recipient of the diploma of Teaching Excellence at Syracuse University. I also feel extremely grateful for becoming a 1st price medalist for two competitions in Florida and one in New York. I am excited to announce an upcoming locally televised interview with Dracut Television in the fall of 2020, where I will be featured as a Teaching Artist.
When you are not performing or teaching what do you like to do?
When the case is closed, I enjoy travelling, shopping, visiting friends, learning French, reading, dancing salsa and exercising.
Learn more about Alek on his Teacher Page.
