Biography
Marcio Giachetta is a Brazilian composer, orchestrator, arranger, and conductor based in São Paulo, Brazil. His work spans audiovisual media and contemporary concert music, with a strong focus on storytelling, instrumental color, and expressive clarity across different formats.
His output includes original scores for film, television, games, and media, as well as concert works for chamber ensembles and orchestra. In the audiovisual field, he is known for scoring films such as The Fobbits (2024), We Need to Talk (2024), Sisters (2023), and Family Line (2023), exploring a wide range of styles from intimate chamber textures to full orchestral writing.
In 2025, Giachetta expanded his professional activity into concert music with a string quartet piece selected as one of three works in a national composition competition. The work premiered on December 11, 2025, performed by the "Quarteto da Cidade" (The Quartet of the City of São Paulo), ensemble in residence at the Theatro Municipal of São Paulo, marking an important milestone in his compositional career.
Giachetta holds a Master’s degree in Film Composition from the Pacific Northwest Film Scoring Program (Seattle, WA) and a Bachelor’s degree in Music Composition from the University of São Paulo (Brazil). His background in orchestration and conducting informs a detailed, performer-aware approach to writing, whether for the concert hall or the screen.
Before fully dedicating himself to music, he built a 25-year career as a business executive in strategy, finance, and management consulting at multinational companies such as Accenture, EY, and General Motors. This experience continues to shape his approach to collaboration, leadership, and delivering complex creative work within professional production environments.
Artistic Statement
"I did not become a composer by following the most common path. Music has been part of my life since childhood, but for many years I pursued a successful career in a different field, one that offered stability, professional recognition, and a clear future. Choosing to leave it behind was not an act of necessity, but of conviction. I realized that what I ultimately sought was not simply a profession in music, but the opportunity to devote my life to creating music that could carry an artistic voice unmistakably my own—one that might continue speaking to others long after I am gone. Every piece I compose is, in some way, a reaffirmation of that decision.
I believe music is one of humanity’s most remarkable forms of storytelling. It gives shape to time, transforms ideas into emotional experience, and allows composer, performer, and listener to inhabit the same narrative without the need for words. This belief defines the way I think about composition. Rather than viewing music as a sequence of events or a purely intellectual construct, I approach every work as the creation of a dramatic journey—one that invites listeners to move through tension, expectation, surprise, reflection, and resolution.
For this reason, I rarely begin by writing notes. I begin by imagining the experience I hope the audience will have. I define the work’s dramatic arc, its architecture, its emotional landscape, and the role each section will play within the whole. Themes emerge from this larger design, often through concise motivic ideas capable of generating an entire musical discourse. Although intuition remains an essential part of the creative process, I value careful planning because it gives every musical decision a sense of purpose. I want listeners to feel that the music is always leading somewhere—that every gesture belongs to a larger expressive trajectory.
My music seeks to reconcile qualities that are sometimes presented as opposites: formal rigor and emotional immediacy, structural sophistication and communicative clarity, contemporary language and genuine accessibility. I have never believed that complexity requires distance, nor that expressive power depends on abandoning craftsmanship. On the contrary, I see composition as an act of construction in which emotion becomes more compelling when supported by coherent form, thoughtful development, and deliberate artistic choices.
This sense of craftsmanship also shapes my relationship with performers. I devote considerable attention to instrumental writing, studying the idiomatic character of each instrument and the physical experience of those who play it. I want musicians to feel that the music understands them—that technical challenges arise from expressive necessity rather than from abstraction, and that every passage has been written by someone who respects both their artistry and their instrument. For me, composition is completed not on the page, but in performance.
Beyond concert composition, my experience with orchestration, arrangement, scoring for audiovisual media, recording sessions, and conducting my own music has strengthened my fascination with large-scale dramatic construction, orchestral color, and the expressive relationship between music and narrative. Rather than existing as separate disciplines, they continuously inform one another, enriching the way I imagine musical form and communicate musical ideas.
I hope my work contributes, in its own way, to reaffirming that contemporary concert music can be both artistically ambitious and capable of forging lasting connections with performers and audiences. I aspire to write works that performers genuinely wish to revisit, audiences genuinely wish to hear again, and that remain in the repertoire not because they belong to a particular aesthetic movement, but because they continue to speak—clearly, honestly, and emotionally—to those willing to listen."