The acclaimed composer Carlos Simon leads a busy life, with a whirlwind of six premieres scheduled within a span of just four months. His packed schedule reflects his growing prominence and the demand for his musical creations.

In February, Simon graced the stage of the esteemed Boston Symphony Orchestra for the highly anticipated debut of his composition, “Four Black American Dances.” This captivating piece takes listeners on a vibrant journey, encompassing elements of a ring shout, a waltz, a tap dance, and a praise break. Meanwhile, at the renowned Kennedy Center in Washington, where Simon holds the position of composer in residence since 2021, he oversaw two momentous premieres in April. “Songs of Separation,” a profound rendition of Rumi poetry, bathes the audience in a timeless glow, while “Don’t Let the Pigeon Sing Up Late!” playfully combines operatic artistry with the creative flair of the celebrated picture book author Mo Willems.

This month, the Detroit Symphony Orchestra brought Simon’s heartfelt concerto for trombone, “Troubled Water,” to life. This stirring composition artfully evokes the hopes, fears, and unwavering faith of those seeking freedom on the Underground Railroad. Additionally, Imani Winds presented “Giants,” a collection of five compelling musical sketches that pay tribute to pioneering figures of color.

However, the apex of Simon’s career thus far lies in the eagerly awaited premiere by the Minnesota Orchestra this Thursday. “brea(d)th” stands as a powerful commemoration of the tragic murder of George Floyd. With this composition, Simon aspires to transcend language barriers, backgrounds, and racial identities, aiming for an honest and profound connection with every listener.

In a recent interview, the 37-year-old composer expressed his unwavering commitment to integrity in his music. “If this music is performed with sincerity,” he stated, “it possesses the remarkable ability to deeply resonate with people, regardless of their language, background, or ethnicity. And that’s precisely what I strive for—authenticity in my music.”

Even with his packed schedule, Simon doesn’t view his workload as burdensome or overwhelming. On the contrary, he considers himself fortunate to be able to pursue his passion and genuinely love what he does. His unwavering dedication and artistic brilliance continue to propel him to new heights, shaping the landscape of classical music and affirming the significance of Black lives, Black artists, and Black music.

Simon’s widespread presence on concert listings can be easily understood. His piece “Fate Now Conquers,” a concise and resounding response to Beethoven’s Seventh Symphony, has been performed by numerous major orchestras and many others. Simon’s compositions possess a certain quickness, emotional depth, and inviting quality reminiscent of the styles of William Grant Still and Florence Price. These scores often exude a genuine belief in their own ability to create an impact.

Gianandrea Noseda, the music director of the National Symphony, who has commissioned and presented several of Simon’s works, including “Songs of Separation,” expressed his admiration for Carlos’s music. He emphasized the genuine desire for communication present in Carlos’s compositions, highlighting the absence of pure intellectualism. According to Noseda, there is always an underlying emotional element in Simon’s music.

Jessie Montgomery, a member of a composer group known as the Blacknificent Seven and a close friend of Simon, recognizes a distinct musical voice in his compositions. She perceives a direct and poignant connection to Simon’s personal history and identity through his music. Montgomery applauds Simon’s dedication to conveying stories, narratives, and meaningful messages through his compositions.

Simon himself considers his role as a griot, someone who preserves stories through music. Many of his works convey positive messages and responses to struggles. “Portrait of a Queen” celebrates Black womanhood, “Motherboxx Connection” draws inspiration from Black Kirby’s Afrofuturist comics, “Be Still and Know” peacefully expresses the presence and grace of God through a piano trio, and “Breathe” offers a calming meditation for chamber orchestra inspired by the theology of Howard Thurman.

However, being a Black American man in the face of persistent racism also entails shouldering a significant burden for Simon. He embraces this responsibility with the same passion and clarity found in the preachers from his lineage.

This burden is most evident in his composition “Requiem for the Enslaved.” This powerful work combines the Latin Mass with spirituals, gospel, and jazz, featuring a text written, spoken, and rapped by Marco Pavé. It pays tribute to the 272 individuals who were sold in 1838 to settle Georgetown University’s debts, where Simon currently serves as a professor. The live premiere of the composition at the Isabella Stewart Gardner Museum in Boston last October resonated with profound moral force, demanding justice while honoring the names and ages of those remembered at its opening.

Performing “Requiem for the Enslaved” is emotionally challenging for Simon. He played the piano during the recording and the Boston concert, accompanied by Marco Pavé, trumpeter MK Zulu, and Hub New Music. Simon has decided that after the next performance, he will no longer play this composition himself, although others may continue to do so.

Simon was born in Washington in 1986 but moved to Atlanta with his family ten years later, where his father serves as a minister at Galilee Way of the Cross Church. He did not learn to read music until he enrolled at Morehouse College. Prior to that, he relied on his musical ear and improvised accompaniment for the Pentecostal congregation during Sunday worship, spontaneously finding the right key as worshippers sang in praise. These experiences ingrained in Simon the profound impact music can have on people’s lives.

According to Marc Bamuthi Joseph, the poet who collaborated with Simon as his librettist for “brea(d)th” and other works, this connection between music and people’s well-being has left a lasting mark on Simon’s compositions.

“Church as an antecedent means that there’s a conjuring that’s part of the output,” Joseph said. There were moments in their one-act opera “it all falls down,” he added, “where spirits swelled. And in my experience, you don’t find that a lot in the opera. You might be moved by melody and tone, but the instinct to spark a fire — that’s a distinguishing characteristic, I think.”

Simon was heavily involved in music during his time at Morehouse, where he played, sang, and wrote for the Glee Club. He drew inspiration from the works of other Black composers, such as Still and Margaret Bonds, who had also contributed to the classical tradition.

Their music gave Simon the motivation to pursue a career as a composer. He earned his graduate degree from Georgia State University and went on to complete his doctorate at the University of Michigan. It was during this time that he felt confident enough to combine his spiritual and gospel roots with classical forms and idioms.

Simon was initially hesitant to incorporate these influences into his work, fearing that it would come across as kitschy or a caricature. However, he was inspired by the way that visual artists like Jacob Lawrence and Romare Bearden portrayed Black life in an abstract manner. He also recognized how Mozart, Beethoven, and Bartok had used folk music in their compositions.

When creating a new piece, Simon conducts extensive research to ensure that he tells the story accurately. For “brea(d)th,” a piece written for choir, orchestra, and spoken word, Simon and Joseph visited Minneapolis to meet with members of the community. They made several return trips to engage with community members, who will hear echoes of their conversations in the final piece.

Initially, Simon was hesitant to accept the commission for “brea(d)th,” as he did not want to create another lament like “An Elegy: A Cry From the Grave” (2015), which was dedicated to Trayvon Martin, Eric Garner, Michael Brown, and others who had been wrongfully murdered by oppressive power. However, Joseph convinced him that the piece could serve as a call to action, not just a moment of reflection.

Ultimately, Simon hopes that his music will inspire positive change and action.

“I don’t think of myself as a politician,” Simon said. “I can’t create laws. But I do think I can help influence thought and discussion, which then can cause someone to create a law. So it’s indirect in that way. But it’s still — it’s better than nothing.”