Agustín Maruri comenzó su carrera musical internacional el 28 de Marzo de 1987 en Munich ofreciendo su primer recital de guitarra fuera de España. En estos 30 años de andadura profesional sus actividades han cubierto varios campos en los que la guitarra ha sido la protagonista absoluta.En jiras de conciertos, tanto como solista como en formaciones de música de cámara, Agustín Maruri ha ofrecido recitales en los cinco continentes.

The seductive sound and renewed interest in the Tango has brought the music of the Argentinian composer, Astor Piazzolla, into the world of the popular classics. His large catalogue of works is unique in using the Tango as the basis for all of his compositions, though he developed the art to the point where it is difficult to detect the dance in his complex and strictly classical music. Of his many works for chamber groups, the Histoire de Tango, composed in 1986, is one of his most popular and frequently performed works. Scored for flute and guitar, it is typical of the composer's interest in the guitar, the Five Pieces now being established in the concert programmes.

Works of Manuel de Falla - widely regarded as the most distinguished Spanish composer of the early twentieth century - are strongly influenced by Spanish folk music in which the guitar is central. Although he composed only one piece for that instrument his inspiration was flamenco and early Spanish music, including the guitar works of Gaspar Sanz. The guitar also features in Falla‘s first great success, the opera ‘La Vida Breve’. For this recording, we have selected and transcribed works in which the influence of the guitar was dominant thus translating these pieces back to their original source of inspiration.

The 101 Strings Orchestra established a reputation as one of the finest ensembles in the easy listening genre. Yet the group actually never existed as a performing orchestra: it was a recording-only ensemble made up of musicians whose personnel often changed from one recording to the next. Moreover, many early albums released under the name 101 Strings were actually reissues of recordings made by such groups as the Rio Carnival Orchestra, New World Orchestra, and others. Under its now-familiar name, more than 100 recordings were issued by two labels – both of which owned the name, hired the players in the ensemble, and, most importantly, provided for the music arrangements that have been crucial to maintaining the orchestra's familiar sound – a dreamy, silken sound not dissimilar to that of Mantovani.

A master of the Brazilian guitar, not to mention the greatest guitarist of the 20th century in the whole of South America… This solo recital by Baden Powell was recorded in Belgium at the 1987 International Guitar Festival that took place in Liège, where Powell took his listeners beyond the frontiers of bossa nova and into the realms of jazz, classical music and the best of MPB, the name of popular music in Brazil. The result is nothing less than a rare artistic accomplishment that combines feverishness music with tranquillity. Frémeaux & Associés, who published the master’s previous two albums, have joined forces with Guy Lukowski, the city of Liège and producers Baden Powell Produções Artisticas to make this extraordinary recording available to all. At the peak of his artistry, the guitarist shows a sparkling virtuosity that is totally subjugating.

Sharon Isbin is a multiple Grammy Award winning American classical guitarist and the founding director of the guitar department at the Juilliard School. Described by the Boston Globe's Michael Manning as a musician who plays "beyond virtuosity," guitarist Sharon Isbin has been a consistent challenge for critics, who struggle to find the right superlative that would do justice to her exquisite playing. A Renaissance woman of the guitar, Isbin performs worldwide at famous venues, commissions new works from distinguished American composers (more than any other guitarist) for her instruments, collaborates with a wide variety of musicians, and indefatigably searches for new music to play.

Bach's music is often described as indestructible, in the sense that no matter how it is performed, or in whichever arrangement, its essential spirit survives. Therefore, transcriptions of the Master's works are common, today as they were in Bach's time (Bach himself was an ardent transcriber!). This new recording presents instrumental works by Bach transcribed for and played on the modern guitar. The guitar as we know it did not exist in Bach's time - there was the baroque guitar, but it was not widespread in Germany. The closest chordophone instrument to Bach was the baroque lute, an instrument that the genius from Eisenach had among his instruments but probably did not play.

Ida Presti (31 May 1924 – 24 April 1967) was a French classical guitarist and composer. She first came to prominence as a child prodigy, before maturing into what Alice Artzt has called "the greatest guitarist of the 20th century, and possibly of all time."

Unquestionably Manuel María Ponce stands as one of the composers for the classical guitar of all time. Rare would be the virtuoso who does not acknowledge his brilliance. However, to reach such heights, history had to gift us a providential encounter with the greatest ambassador of the guitar in the 20th century: Andrés Segovia. Their profound relationship of friendship, respect, and admiration, evidenced through a fraternal correspondence and declarations, began in 1923. At that time, Ponce was a professor of Harmony at the National Conservatory of Mexico and a music critic. Manuel Ponce composed the Sonatas between 1923 and 1929, all commissioned and dedicated to Andrés Segovia. They constitute the first collection of Sonatas written in the 20th century by a non-guitarist composer, forming a fundamental and unique corpus in the concert guitar repertoire. Each Sonata possesses stylistic and formal characteristics that Segovia himself detailed.

Santana Arriving at the twilight of the 1960s, Santana were psychedelic pioneers who ushered Latin rock into the mainstream with their first three albums: Santana, Abraxas, and Santana III. Thanks to their appearance at Woodstock, their eponymous album was a smash hit right out of the gate, with its single "Evil Ways" making it into the Billboard Top Ten in 1969. They remained at the top of the charts until 1973, when leader and namesake guitarist Carlos Santana began exploring esoteric, spiritual jazz fusion on his own. Carlos may have wandered away from the band who shared his name, but he always returned to the group, sustaining them through years both productive and fallow.

Al Di Meola's "Twentyfour," is a testament to creativity. Conceived during the tumultuous times of the pandemic, what started as a simple acoustic project evolved into something much grander. Al's initial intention to craft a reflective acoustic album on the challenges of the time expanded exponentially as he found himself unable to resist the allure of boundless musical exploration.

Ausiàs Parejo is the winner of the 2022 ‘Alhambra’ International Guitar Competition. In this programme he includes three cornerstones of the Spanish and Latin American repertoire. Combining idiomatic colour and rhythmic vivacity, Guastavino’s First Guitar Sonata , Ponce’s great tribute to Segovia, and Brouwer’s ingenious sequence of variations offer formidably ambitious technical and interpretative challenges to the performer. Inspired by his youthful brilliance Juan Erena’s Luz del Alba , full of radiant grandeur, is dedicated to Parejo.

Music both old and new, but all of it inspired by the timeless modal harmony of medieval and Mediterranean cultures: this is the subject of John Williams's brilliant guitar disc for Sony, which also features his debut as a composer. The main work is his own "Aeolian Suite" for guitar and chamber orchestra, based on both original and 14th-century tunes (one of which, the "Saltarello," appeared on early-music pioneer David Munrow's disc called Instruments of the Middle Ages). The suite is a lovely piece of writing, deftly composed, and neither tacky nor pretentious. It's paired with an inspired assortment of spiritually related but diverse arrangements and original pieces by Satie, Theodorakis, Domeniconi, and an emotionally intense four-movement work called "Stélé," by Australian composer Phillip Houghton. Naturally, Williams performs each piece expertly, but most important, he makes his instrument sing, and that's just what the music demands. Simply super.

Francesco Molino was an Italian guitarist, oboist, violist, and composer, born In Ivrea, Piedmont, on June 4, 1768.
His father Giuseppe Ignazio was an oboist in the service of the Piedmontese troop band. Francesco followed his father in choosing a military career, at the age of 15 years he joined the Piedmont Regiment as a volunteer, thereby also learning his father’s instrument, the oboe. He also undertook training on the viola, and by the age of 18 years he was active as a violist in the orchestra of the Royal Theater of Turin. He often travelled to Spain to give concerts. He was orchestral conductor during 1796–97.

The importance of the guitar is evident throughout the span of Paganini's activity as a composer, and it is possible that as a boy, before he began to practice on the violin and the "chittara francese", he received from his father his first musical grounding on a "mandolino genovese", an instrument that had six courses or six single strings, with the same tuning relationship as that of the guitar. The Catalogue's chronological list ranges from 1795, with Carmagnola con variazioni ms. 1, to 1835, with Variazioni sul Barucabà, an entire cycle of compositions that features the constant presence of a guitar in combination with string instruments. This context contains the compositions for solo guitar, which are divided into three groups: Ghiribizzi, Sonate, and Compositions of various types, including some Sonatine. The recording dedicated to Paganini's opera omnia for guitar is divided in two double CDs volumes, the first volume includes the 43 Ghiribizzi and other various compositions (sonatas, sonatinas and free forms). Mauro Bonelli, for the realisation of this work, used a period guitar with catgut strings, tuned to 415 Hz: nineteenth-century Austrian guitar without a label; the fact that it's fretboard can be tilted by means of a peg connects it with the best Legnani-Stauffer tradition.