I began studying piano as a child, but my involvement with music has always been diversified. Initially, this was reflected in my lack of exclusive dedication—I was not the type of student who dreamt of becoming a concert pianist, nor did I want to spend several hours a day studying the scores my teachers gave me. However, over time, more opportunities arose to play and interact with other musicians and various musical genres, until I found myself involved in so many different activities that I no longer knew what type of musician I was.

Nevertheless, one characteristic has always been constant in me: the desire to experiment and speculate with music, whatever the genre or place. Therefore, I decided to professionalize in musical composition, a corner of music where things are less defined and, because of that, more open. Even though I still wonder what kind of musician I am, it is in concert music that I feel at home, despite continuing to involve myself with other types of music. When I feel like listening to music, it is in this repertoire that I immerse myself, whether medieval, baroque, contemporary, or whatever.

And it is mainly with it that I dialogue when I write music, and so the spaces where my work can be seen are usually contemporary music festivals, seminars, and concerts. This has earned me some awards, such as the Funarte Prize for Classical Composition (in 2010 and 2012), and I have participated in various events, such as the II International Chamber Music Meeting in Évora (Portugal), Música de Agora in Bahia, in Salvador, or the National Academy of Composition with New Technologies, in Buenos Aires. I have also created my own performance spaces in Porto Alegre, such as the Música de POA collective, and the Música em Facetas and Babel festivals, always working with other musicians and artists interested in socially creating new ways to interact with music.

My desire to experiment is always alive, and for this reason, I developed a doctoral research project in musical composition at UFRGS, in which I studied the creative potential of our involvement with music, whether as composers, instrumentalists, or simply appreciators. In a way, I see every musical project as a kind of cultural bomb, which can start with a small explosion in my studio, with some notes on a staff paper, but with cleverness and work, will reverberate in other places and involve many people in the common interest of bringing our sonic dreams to life—after all, who doesn’t have them?