Today we’d like to introduce you to Horacio Fernández

Hi Horacio, please kick things off for us with an introduction to yourself and your story.

I began my artistic journey as a big fan of the Beatles. One of my earliest memories is asking my parents to play the song “I am the walrus” several times in a row because I loved how strange it sounded. This type of progressive pop music with a hint of classical crossover was the first love of my musical life and today over 20 years after the fact, I find that my musical sensitivities have come full circle. today, I am a passionate classical composer who infuses his music with diverse Latin rhythms and Mexican cultural influences. I compose music for the Symphony Orchestra and I produce uncomposed pop songs for Latin artists. my love for bridging the gap between two different worlds just like the Beatles used to do in the 60s has resulted in an exciting career. My orchestral music has been performed in Europe, Latin America and has recently been programmed by the Syrian national Symphony Orchestra.

In September 9 of 2009, my life changed completely. the Beatles rock band a video game similar in style to guitar hero was released. I was now able to perform the music. I was so passionate about with plastic guitars and drum sets. I became an expert in this game of course, but after a few months of playing at Ivy became bored with make-believe musical instruments so I looked for the next step in my Musical journey. This led me to start taking the piano lessons that my mother took me to by force more seriously. I began to take piano lessons where I was introduced to the great classical composers such as Mozart, Beethoven and Bach, my favorite classical composer. discovering this new world and possibilities of composing complex music that required hours of studying and even over 100 musicians became my new passion.

This led me to become enrolled in my local Muzic school, the Benemérita Universidad Autónoma de Puebla (BUAP), in my hometown of Puebla Mexico. I took my first few composition lessons because since day one of becoming obsessed with English rock music, I knew that what I wanted to do with my life was right great songs like the ones Elton John, Paul McCartney, Bob Dylan, and Billy Joel used to write. However, the fact that I was enrolled in classical music, institution led me to become interested in becoming a symphonic composer.

After a few years in the university in Puebla, there was an opportunity to do an exchange program in France, so I took it thinking that of course I had to go to the source of the classical music world. However, after a year in France and perfecting my French, I realized that the spirit of European new music making was not for me so I began to think about alternatives.

Two years before leaving to France to important events happened in my life. the first was that I started taking Latin ballroom dance lessons, inspired by the relentless bullying of my cousins, all of which were natural dancers. I of course, was not. the beginning, I hated dancing and anyone associated with the practice, but once my childish instinct subsided, I secretly decided to enroll in a few dancing classes. this is where I really became acquainted with musical styles that have become the foundation of all of my current work with Symphony Orchestra that I am known for. I discovered Salsa, Bachata Cumbia and Reggaeton dancing and therefore I started to understand the music in terms of dance. this made a very big difference in my career because my relationship to this music was through movement and through the social practice of courting a partner in the Dancefloor. My love for Latin music and deep understanding of it was born. a little bit after that, I won an important composition competition in Mexico City. it was the Arturo Márquez composition competition. He is among the most important classical Mexican composers, most famous for writing, the celebrated piece Danzón 2. winning this prestigious competition made a big impact in self-esteem and also my parents beliefs that I could actually make some thing of myself as a musician. Most importantly I was able to meet one of the competitions judges. His name is Samuel Zyman, who coincidentally also taught at The Juilliard School, the world’s most prestigious Conservatory. this gave me the conference to write to him and ask him if I was Juilliard material. He answered with the most encouraging words, a young and hungry man could hear. “Just try it, what is there to lose?”. so I did. I applied to my dream school while I was in France and I got in.

Once I arrived in New York City in the summer of 2018, I knew exactly what I wanted to accomplish at Juilliard. my bachelors and master’s degree was filled with various projects with my fellow classmates, including three Orchestre, I created to record some of my Latin inspired pieces of music. after years of hard work and education a lot of Orchestre have been to take notice of my work, making me among the most often programmed young composers of my generation. however, my desire to go back to my roots of loving Pop music was still unfulfilled. this all changed when a security guard at Juilliard, named Swell Mclovin asked me if I made beats. at the time I had never used a Digital audio workstation to create music, but I decided it was about time for me to try it. The result was my first ever popular music release titled FLARE. being as project driven as I am, I went out of my way to make sure that my first single had an interesting music video to go along with it. this is when I contacted a well-known digital artist from Mexico called Mictlart, together, we designed the characters for the animated music video and it is among my most successful project to date.

Today I find myself with a team of wonderful rappers singers, Orchestras, my manager Dan Visconti from Visconti Arts and the support of an online community that is growing every day. I now write music for Orchestra around the world and produce for up-and-coming artists from Latin America. I know my journey is still ongoing and I am excited to see what project comes next. Don’t forget to listen to my music on Spotify, YouTube and all other streaming platforms!

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?

My path has been filled with challenges, most of which I’ve faced with persistence, hard work, and an unwavering belief in my music. In the age of the internet, getting your work discovered can feel paradoxical—it’s both easier and harder than ever. How do you stand out in a sea of content and extraordinarily talented people? I’ve found that staying true to your vision is the fastest way for an audience to connect with and accept you. As someone who’s not naturally outgoing or extroverted, especially in the fast-paced world of social media, crafting my online persona has been a challenge. But I’m making steady progress in growing my presence and relevance.
Moving from Mexico to the United States came with its own set of difficulties. I’ve been fortunate not to face discrimination, especially living in New York City, one of the most welcoming places for international students. But adjusting socially was tough. My first year at Juilliard was lonely, as I struggled to make friends with people from different cultural backgrounds and senses of humor. Everything changed in my second year when one of my cousins was admitted to the Manhattan School of Music. Together, we formed friendships and supported each other. Having that sense of community not only helped me in my career but also made my time in New York far more fulfilling. While determination and work ethic are essential, it’s equally important to feel a sense of belonging and to have a support system, even when you’re far from home.
Financially, I’ve been fortunate. I received a generous scholarship from Juilliard, which allowed me to focus entirely on my work. Coming from Mexico, I also learned how to be resourceful, finding ways to earn extra money for my projects, whether through school or side gigs. Now that I’ve graduated, I face new challenges, like starting a family, navigating work outside of academia, and dealing with the same hurdles many international students experience. However, the seeds I planted years ago are starting to blossom. I’m now receiving commissions, reprogramming opportunities, and embarking on exciting entrepreneurial projects. Life is unpredictable, and I’ve learned to stay adaptable, ready for whatever comes next.
One of the biggest challenges I faced in my career was mastering the technical aspects of modern music production. Until recently, I composed all my music directly into notation software, with the intention of it being performed by live musicians. But transitioning to digital audio workstations (DAWs)—the software used by music producers to create music directly on a computer—was a completely new experience. Learning to create music without relying on real musicians and diving into the world of mixing and mastering was daunting. It took me about two to three years to reach a level where I felt comfortable releasing my work independently. On a technical level, this was the most challenging part of my career. At times, I doubted my ability to adapt to this new technology, and learning to use digital marketing tools to promote my music added another layer of difficulty. But going through that struggle has ultimately made me a stronger artist and a better human being.

Thanks – so what else should our readers know about your work and what you’re currently focused on?

My mantra as a creator is “classical by day, Latin by night.” I’m best known for blending classical music with the popular Latin rhythms of my generation. Many composers today, especially from Latin America or other culturally rich backgrounds, draw inspiration from the sounds of their home countries. However, I think what sets my music apart is that I’ve actively tried to break away from both traditional classical and contemporary norms.
For those unfamiliar, contemporary classical composers often gravitate toward the avant-garde—music that defies conventional structures and embraces complexity, unusual sounds, and abstract ideas. This is largely due to the influence of European aesthetic values that dominate classical music education. In conservatories, we study and admire composers like Ligeti, George Crumb, Milton Babbitt, Schoenberg, Messiaen, and Stockhausen, whose work is often described as experimental. During my time studying in France and at the Mexican music university, I was constantly at odds with this approach. I would challenge my professors and peers, questioning the relevance of this style of composition in our cultural context.
There’s a popular joke among classical composers: a Venn diagram with three circles—“music I love,” “music that makes money,” and “music I write.” The humor comes from the fact that the circles don’t overlap. I’ve been aware of this since the beginning of my career, so I’ve always aimed to create music that satisfies all three. I believe that’s what makes my work stand out. While many focus on writing music that’s highly complex or critically acclaimed, I’ve always preferred to write music that I enjoy, that resonates with audiences, and that, ideally, can generate some income.
My classical background also gives me a unique edge in the world of pop music. I work with rappers, producers, and creators who typically aren’t used to the complex structures and techniques that come from classical training. This allows my pop songs to contain unexpected surprises—little moments of sophistication that aren’t usually found in the genre.
All of these experiences have shaped who I am as an artist. My success—which I measure based on my own standards, not external ones—comes from my determination to create exactly what I want, in the way I want to. Audiences can sense when an artist isn’t being authentic. There’s nothing more awkward than someone who doesn’t believe in what they’re expressing. By staying true to myself, I’ve not only overcome that challenge, but I’ve also created an identifiable brand that’s genuinely mine.

We’d be interested to hear your thoughts on luck and what role, if any, you feel it’s played for you?

I believe that about 20% of success and good fortune in life is determined by what happens to you, but 80% comes down to how you respond. Of course, luck plays a role, but I think that when you place yourself in the right environment—like living in New York City as an artist—your chances of “good luck” increase exponentially, simply due to the sheer number of opportunities that come your way every day. This was a key realization for me, which is why I knew early on that I needed to be where the action is.

I love my hometown of Puebla, Mexico, but I understood that if I wanted to achieve the kind of career I envisioned, I would need to explore the world beyond it. That’s what drove me to study in France and, eventually, to pursue an education at The Juilliard School. Once I was there, things started to fall into place—what some might call luck, but I believe it’s more about putting yourself in the path of success. I’m also a big believer in the idea that 90% of success is just showing up. Being present—whether in friendships, projects, or social situations—has always led to good things for me.

I’m fully aware that life is unpredictable. Tomorrow, I could be hit by a bus or diagnosed with a serious illness. While that would be devastating, I try not to dwell on those possibilities. Fixating on potential disasters only brings negativity closer. Instead, I focus on what I can control—like looking both ways before crossing the street, eating healthily, and exercising to keep myself in good shape.

I also believe that nothing creates more unhappiness than comparing yourself to others. Thinking that success is only for those born rich or with the right connections is a mindset that will hold you back. It makes you believe you’re destined to fail. I’ve chosen to reject that belief. While I certainly hope these words don’t come back to haunt me, I’m determined to stay positive, keep working hard, and focus on what I want to achieve.

Pricing:

• Cost of producing a song for you: starts at $300 USD for production and arranging and $200 for mix and mastering
• Online or in Person lessons in piano, arranging, producing and composition: 100 USD an hour
• Marketing strategy consulting for musicians: 80 USD an Hour

Contact Info:

• Website: https://www.horaciofernandezcomposer.com/
• Instagram: https://www.instagram.com/horatio_on_the_beat/
• Facebook: https://www.facebook.com/people/Horacio-Fern%C3%A1ndez-Composer/100062958744737/
• Youtube: https://www.youtube.com/c/HoracioFern%C3%A1ndez
• Other: https://open.spotify.com/artist/4K2PgfRbCqSt0bYrwl4J4d?si=xXP2-2IBTSy6AQle1GtPnQ

Image Credits

All images designed by Mictlart
Headshot by Uriel Flores