by Salomão Habib

Born in Belém, Salomão Habib is one of the musical figures who has most actively contributed to

the recognition and preservation of Amazonian culture on both national and international stages. This work makes reference to one of humanity’s oldest and most enduring legends: that of the Amazons. Known since ancient Greece, the Amazons were described as female warriors skilled in archery and horseback riding, who rejected the presence of men in their society, often killing them mercilessly.

by Paul Hart

Internationally recognized primarily for his work in television, radio, and film, as well as for his career as a jazz musician, Paul Hart studied piano, violin, and composition at the Royal College of Music. Having developed an early interest in jazz, began working in 1973 as a bassist, violinist, and pianist with Cleo Laine and John Dankworth. Hart composed three works for guitar: a concerto written for and premiered by John Williams; a piece for two guitars composed for the duo John Williams and John Etheridge; and All Thus Stand Light, commissioned by the Worshipful Company of Musicians to be premiered and recorded by Fabricio Mattos.

by Ralf Bauer-Mörkens

A multifaceted artist, Ralf Bauer-Mörkens was born in Bonn to Italian and Czech parents, he studied classical guitar, lute, and composition in Cologne, alongside mathematics. His musical language was deeply informed by cross-cultural influences, popular music styles, and both Eastern and Western philosophical traditions. In seeking to musically portray the phenomenon of metamorphosis, Bauer-Mörkens turned to one of the most iconic works in the Western canon: Johann Sebastian Bach’s Chaconne in D minor for solo violin (BWV 1004).

by Fabiano Borges

As a Brazilian guitarist and composer with a deep connection to South American culture, Fabiano Borges' music frequently revisits tradition through a contemporary lens, and his Suite Sudamericana is a compelling example of his passion and commitment to the music and art of the continent. The suite is divided into four movements - Invocación, Por los Andes del Gran Perú, Tangos y Milongas, Aires de Landó -, with each portraying a distinct rhythm or atmosphere.

by Nick Norton

“Fabricio and I met when he visited Los Angeles on the first Worldwide Guitar Connections tour, and while we were talking about his travels he mentioned that he'd kept a recorder with him and captured the sounds of the various places he'd visited, and that he wanted to commission a piece to tie all of the recordings together. We said go, and he sent me his recordings the next day. Instead of accompanying the recordings, I'd write a musical structure and narrative on the guitar, and use the recordings, with some minimal manipulations, to accompany it. The recordings used are from quite a few locations all over the world. I hope that, by combining them in the way I did, their geographic significance disappears and we hear them as being all part of the same place.” Nick Norton

by Mario Ferraro

Mario Ferraro is a composer, pianist, choral conductor, and musical director–producer whose work spans classical and popular music, theatre, and documentary film. Ferraro began incorporating the guitar into his compositional output in 2008 with two chamber works written for the Nieuw Ensemble, from Amsterdam: Vitral, for a large instrumental ensemble, followed by Quintal, for flute and guitar. In Quintal, one already perceives the composer’s command of the guitar’s expressive resources, marking the moment when Ferraro embarked on a path still pursued by relatively few composers — a deep and sustained exploration of the instrument’s possibilities, resources, and limitations, ultimately seeking its expressive essence.

by Harry Crowl

Born in Belo Horizonte, Harry Crowl has had his music regularly broadcast on radio programs across all

continents. Prelúdios Curitibanos ("Curitiba Preludes"), his second work for solo guitar, is a set of three

preludes of contrasting character. The composer’s choice of the title prelude already suggests a sense

of formal freedom; yet the work reveals a remarkably clear and judicious organization—perhaps its most striking feature. Each prelude reflects a central aspect of Crowl’s compositional personality, while simultaneously exploring a distinct aesthetic and expressive situation that calls for a correspondingly

nuanced interpretation. This approach fosters a heightened sense of meaning, creating a compelling

expressive alliance between composer, performer, and audience.

by Luiz Cláudio Ferreira

The Valsa & Choro das Araucárias belong to Brazilian musical genres commonly classified as “traditional.” Both works are structured in three clearly articulated sections, with well-defined tonal relationships between them. Their harmonic language and high technical demands reflect Luiz Claudio’s musical abilities, combining European compositional procedures with the rhythmic complexity characteristic of Brazilian music, as well as rigorous technical preparation. The araucária referenced in the title is a species of pine tree (Araucaria angustifolia) native to southern South America and notable for its distinctive shape.

by Lucas Jordan

Lucas Jordan is a composer whose life can be likened to a fugato: born in Brazil, educated in Brazil,

the United States, Switzerland, and the United Kingdom, and holding Brazilian, Italian and Swiss

nationalities. These cultural displacements have shaped a distinctive compositional identity — one that

reflects a mosaic of experiences and influences, distilled into a singular musical voice. preludiofuga II extensively probes the expressive and technical limits of both the instrument and the performer, while engaging with performative gesture. Rather than adhering to the conventional formal models of prelude and fugue, the work unfolds according to a highly personal structural logic. The prelude fails to establish stability and gradually dissolves into the fugue, which in turn attempts to assume the role of the prelude. This dynamic creates a fugato-like texture, marked by a communicative tension between the two forms. As this tension intensifies, the performer is compelled to move beyond purely musical discourse into non-verbal expression — an experience analogous to navigating a foreign environment and resorting to gesture as a means of communication.

by Mauro Bonelli

Mauro Bonelli is a guitarist and composer from Genoa who is deeply engaged in the search for new

technical and expressive possibilities for the modern guitar. He is also a specialist in early plucked

instruments, regularly performing and recording on guitars, lutes, and other historical instruments,

often incorporating experimental approaches. Following this rare combination of expertise in early music and contemporary practice, Bonelli created a set of contemporary capricci for the guitar, where each of the three capricci bears a title that defines the specific technical or musical approach envisioned by the composer. These short pieces clearly demonstrate why guitarists regard his compositions as among the most technically demanding in the guitar repertoire, while audiences respond positively to their organic musicality and visceral energy.