top of page

Fabricio Gatta

Date and Place of Birth: June 29, 1971, Lomas de Zamora, Buenos Aires, Argentina.

Profession: Composer, Pianist, and Teacher.

Education: Graduated from the National Conservatory of Music Carlos López Buchardo.

Degree: National Music Professor, specializing in piano.
Further Studies: Pianistic technique and chamber music.
Teachers: Rafael Gíntoli, Noemí Berti, Mónica Cosachov, and Juaréz Johnson.

Notable Compositions:
“Odisea” Concerto for bassoon and string orchestra.
“Mi Barrio” Concerto for bassoon and string orchestra.
“Turbia Buenos Aires” Concerto for piano and symphonic orchestra.

Current Activities:
Music Teacher at Asociación Escuelas Lincoln, La Lucila, Buenos Aires, Argentina.

2011 International Composition Competition “Tango Music Award” Stuttgart, Germany.First audience prize, second jury prize.
2013 National Arrangement Competition for Symphonic Band. First prize as arranger.
2023 National Composition Competition, National Arts Fund. Second prize in academicmusic.

2013 International Composition Competition “Isla Verde” Córdoba, Argentina. Firstmention.
2022 International Tango Music Composition Competition “Kavala” Greece. Finalist.

1996 Lyon, France, Franco-Argentinian Symphony Orchestra.
2008 Marina Di Ragusa, Sicily, Italy, Typical Orchestra “Selección Porteña”
2011 Tamaulipas, Mexico, company “Tangueros del sur”

Original Music for Theater:
Prepara tu esqueleto para el aire. Theatrical work based on text by García Lorca.

Activity as Pianist and Arranger in Musicals:
The Wizard of Oz, The Phantom of the Opera, Miss Saigon, Beauty and the Beast,Aladdin, Seussical, Aida, Les Misérables, Tommy, Mary Poppins, The Merry Widow.

Edited Discography:
Poitim (Celtic)Buenos Aires en tres minutos (Tango)Piazzolla y Bragato (Tango)El camino y el Río (Folk)

No 1,2&3

This work was a challenge for me as a composer. I loved the idea of ​​this contest. It is the first time that I work thinking about making a composition within the baroque style.

New ideas arose and others that I had already worked on where I was able to adapt them and convert them into three very contrasting movements.

In the first movement, the violin exposes the entire motif of the first number as an introduction. Then it returns to the main theme, now with the intervention of the harpsichord.


The second movement is a dance that contains a typical rhythm of Argentine folklore, developing and transforming its melodic line within a lively baroque atmosphere.


The last movement since its beginning, has an air of baroque style alternating with contemporary
influences. A conversation flows between the instruments continuously, where different moods can be felt.

bottom of page