Five Questions with Mizzou Composer Trent Fitzsimmons
By Eric Dundon
When St. Louis Symphony Orchestra musicians present chamber music as part of the SLSO’s Live at The Sheldon series, they’re given artistic control of the program and perform a wide range of repertoire not generally heard on classical programs. This also includes chamber music by rising composers at the University of Missouri, part of the orchestra’s long-running collaboration with the Mizzou New Music Initiative (MNMI)—a program of the university that supports emerging composers.
On most Live at The Sheldon programs this season, SLSO musicians will give the world premiere performances of MNMI composers’ works, including Trent Fitzsimmons’ Equinox Serenade on February 5.
Here, Fitzsimmons talks about the world premiere of Equinox Serenade.
This interview has been edited for length and clarity.
What is your musical history? How has it influenced your voice so far as a composer?
Ever since I started band when I was 10, I was composing music. I kept it hidden for the most part because I was embarrassed about it at the time. I started with composing short musical exercises reflecting the books we were learning from. Eventually I would discover music notation programs and end up starting to compose larger pieces. Then, I partook in the University of Missouri’s Summer Composition Institute which brought me a challenge of writing for strings for the first time.
Tell us about your composition process.
In my process for composing this string quartet, I looked at my favorite string quartet, the Ravel String Quartet in F. I analyzed how each instrument plays with each other and how they combine into one piece. I kept everything traditional, as this was my first attempt at a string quartet, and looked to current events for inspiration. I would imagine a perfect world with perfect scenery and envisioned what it would sound like and try my best to write that on the page.
Tell us about your piece, which will receive its world premiere at the February 5 Live at The Sheldon chamber music concert.
My piece, Equinox Serenade, is about the equinox, the time where the sun crosses the celestial equator, when summer ends and autumn starts. The piece in my mind is what you would listen to as you walk through a forest of brown trees with leaves falling down—very scenic. You embrace the warmth of autumn and say goodbye to summer as it comes to a close. The piece is very nostalgic, reflecting summer’s end, but also adventurous, inviting the start of autumn.
What should audiences listen for in your piece? What do you hope they take away from listening?
I would like to invite the audience to listen and try to pinpoint the two themes of nostalgia and adventure and to walk out the door feeling appreciative and excited about time passing instead of worried or anxious of what’s to come.
This performance is a result of the collaboration between the SLSO and the Mizzou New Music Initiative, connecting the orchestra to rising composers’ voices. What does the experience of having professional musicians perform your music mean to you? What do you anticipate learning or taking away from the experience?
First of all, I am very grateful to be a part of this project, it really means a lot to me. Having faculty at the University of Missouri help me through everything gives me multiple chances to fail and learn to become a better composer, and the SLSO gives me a chance to delve into the professional world of composing. Having professional musicians perform my music brings the dream my 10-year-old self had to life. I anticipate not only learning about the technical side of composing for strings, but also how to communicate about music and how to workshop professionally.
Eric Dundon is the SLSO’s Public Relations Director.
