An interview with Feature Focus composer Edna Alejandra Longoria
SOLI sat down to talk with composer Edna Longoria in advance of her artistic residency week – Feature Focus – with the Ensemble and the San Antonio community in November 2025. This conversation has been edited for clarity and to reflect the spirit of our exchange.
Q: What is the title of your new work? What is the central idea, image, or emotion that drove it?
A: The piece is called “Serenata al más allá,” which means “Serenade to the Afterlife.” When SOLI approached me, I learned the premiere would be in November, so I immediately thought of writing something for Día de los Muertos. I always try to include my culture in my music, and this piece is very culturally driven. It’s inspired by my biggest musical inspiration—my grandpa. I grew up in Mexico and spent a lot of time with him. He always encouraged my creativity, and I have many wonderful memories with him. This piece is my way of thanking him for those memories.
Q: Given your familiarity with SOLI’s ensemble sound and capabilities, how did that influence your approach to composing this new commissioned work, and how does working with a group you know well differ from working with one you don’t?
A: Each time I write for a professional ensemble like SOLI, I don’t hold back—especially since my music is very rhythmic and can be challenging. I trust the group’s abilities completely, which allows me to write exactly what I hear, without restrictions. And, having worked with SOLI before, I felt much more comfortable because I know the group personally and am familiar with their talent. This relationship made it easy to ask questions and helped me feel less nervous, making the compositional process much smoother.
Q: Was there a specific breakthrough or technical hurdle that defined the composition’s final form?
A: This was the first time I wrote a piece with different movements, which was a challenge. I had to make sure they made sense together but also had their own unique sound. That was the biggest challenge—approaching that new structure.
Q: For the audience hearing this world premiere, what is one essential takeaway you hope they have, and what should they listen for that makes this piece distinctly a product of your current voice?
A: I hope to share my culture through this piece. If people aren’t familiar with Día de los Muertos, I want them to learn a little about it, and since the music is very personal, I hope they also get to know me as a person. Although I’m shy and introverted, I love sharing through my music. Musically, listeners should pay attention to the blend of Latin rhythms with contemporary elements—rhythm is a big part of my style, and I try to create something unique by mixing these influences. I hope the audience enjoys that combination and feels the personal connection I’ve woven into the work.
Q: Your Feature Focus week final concert is a curated experience. How does the surrounding repertoire act as a frame or conversation partner for your work and the contemporary music of San Antonio?
A: When asked to help with the program, I wanted to pay homage to composers who have inspired me. One piece is by my professor, Dr. Adriana Verdié from Argentina, who introduced me to Gabriela Ortiz, another composer on the program. Arturo Márquez, one of my favorite Mexican composers, is also included. The concert is called “Suite Connections”—not just for the musical suites, but for the connections between people I admire.
Q: What is your compositional approach like? Are you more idea-driven or music-driven?
A: I usually write programmatic music that tells a story. Once I know the theme, I create a timeline on paper with the main ideas—how I want the piece to start, the mood, and so on. I set small goals for each section, which helps me stay focused and less stressed. I use Sibelius to write, starting with rhythm and then developing the melody.
Q: What advice would you offer students about building a creative life in San Antonio?
A: You really have to want it as a musician—it’s not an easy career. I advise students to think about finances and consider other jobs to support themselves. For example, I’m also an immigration paralegal, which helps reduce stress and allows me to enjoy composing again. It’s okay to have multiple jobs as long as you’re still enjoying music and taking care of your mental health. When I was only a musician, I felt pressured to compose just to pay the bills, which made it less enjoyable. Now, with my paralegal job, composing is my happy place again. I write with more freedom and less stress.
Q: You were born in McAllen, Texas, and raised in Reynosa. How did those communities shape your relationship with music?
A: I spent my first 12 years in Reynosa, where I fell in love with music and began playing piano. Moving to McAllen at 13 shifted my focus to basketball, and I put music aside until a serious ACL injury in high school. That setback was devastating, especially since it ended my basketball aspirations. During my recovery, I spent a lot of time in bed and started composing again, using music as an emotional outlet. My mom reminded me that everything happens for a reason, and looking back, I see she was right—my love for music began in Mexico, and my growth as a composer happened in San Antonio. Without that injury, I might not have rediscovered my passion for composing.
Q: What are some of your earliest memories with music, what initially led you toward composition, and how did your interest in architecture relate to your musical journey?
A: My earliest memory with music goes back to kindergarten, when I fell in love with the piano after hearing the principal play the Mexican national anthem. I was so inspired that I told my mom I wanted to learn piano, and that’s where my fascination began. I started piano in third grade but set music aside for six years to focus on basketball. After an injury at 17, I returned to music, realizing that composing made me happiest. I even enrolled as an architecture major, drawn by my love for math and drawing, but I soon discovered that my true passion was music. Though I wasn’t accepted into the music program at first, I kept taking lessons, was eventually admitted, and haven’t looked back since.
Q: Is there a foundational skill or perspective you think is crucial for young composers in San Antonio?
A: It’s important for young composers to know that professors are there to guide, not dictate, what they write. They should feel free to write what they hear and be authentic, without worrying about others’ opinions.
Q: In what ways does your identity as a Latina composer in San Antonio shape your music and its role in public life, especially considering regional influences, unorthodox inspirations, and how your style has evolved over time?
A: I hope to inspire other musicians and artists to embrace their culture in their work without fear. It’s important to share what you feel, even if some people criticize it. San Antonio is perfect for me because I’m always surrounded by Latin music like mariachi. The city’s diverse cultures are inspiring. I love watching Spurs basketball and soccer. Sports motivate me and fuel my competitive side, which influences the rhythmic aspects of my music. My music started out very tonal, but after studying contemporary music, I began mixing Latin, classical, and minimalist elements. It’s still accessible but more diverse now.
Q: What have been some of the most unexpected surprises and favorite moments in your career as a musician?
A: One of the most surprising challenges in my career came when someone at a recent program told me my music wasn’t original enough, saying it was “too Latin.” That comment deeply affected me and made me question my work, causing me to struggle with deadlines and even consider quitting music altogether. Fortunately, therapy helped me to accept that it’s okay to write what I love and not worry about what others think. On the other hand, one of my favorite moments was receiving the biggest scholarship at UTSA, especially after having a hard time catching up in music theory and ear training. This achievement is a constant reminder that perseverance and hard work pay off, even if the journey takes longer than expected.
Q: What is the next major composition or project you’re working on, and what are some bucket list collaborations you’d love to pursue?
A: I’m starting a wind band commission for a group in Michigan, and I have another project coming up that I can’t talk about yet. I’d also love to write for an orchestra, which would be new territory for me. Mostly, I just want to keep working with talented ensembles and people who are excited about my music.