Flavio Nati - Guerra-Peixe: Complete Solo Guitar Music (2026)

Tracklist

01. Sonata (1969): I. Allegro
02. Sonata (1969): II. Larghetto
03. Sonata (1969): III. Vivacissimo
04. 5 Preludios (1973): I. Lua Cheia. Allegro Moderato
05. 5 Preludios (1973): II. (En Forma de Estudo) Isocronia. Allegro Comodo
06. 5 Preludios (1973): III. Dança Fantástica. Con Fuoco
07. 5 Preludios (1973): IV. Canto do Mar. Moderato
08. 5 Preludios (1973): V. Ponteado Nordestino. Allegretto
09. Suite (1946): I. Ponteado. Andantino
10. Suite (1946): II. Acalanto. Lento
11. Suite (1946): III. Choro. Allegretto Alla Breve
12. 10 Ludicas (1979): I. Fantasieta. Moderato
13. 10 Ludicas (1979): II. Dança Negra. Allegretto Moderato
14. 10 Ludicas (1979): III. Organum Acompanhado. Allegretto Moderato
15. 10 Ludicas (1979): IV. Berimbau. Moderato, Con Rigore
16. 10 Ludicas (1979): V. Modinha. Moderato, un Poco Rubato
17. 10 Ludicas (1979): Vi. Ponteado Com Ligaturas. Quasi Alla Marcia
18. 10 Ludicas (1979): VII. Diálogo. Allegro Moderato
19. 10 Ludicas (1979): VIII. Diferencias Brasileñias. Andantino
20. 10 Ludicas (1979): IX. Notas Repetidas. Andantino
21. 10 Ludicas (1979): X. Urbana. Allegretto Moderato
22. Peças Fáceis (1981), Breves I: I. Prelúdio Alegre. Allegretto
23. Peças Fáceis (1981), Breves I: II. Breve Cantiga. Lento
24. Peças Fáceis (1981), Breves I: III. Em Cinco Tempos. Con Fuoco
25. Peças Fáceis (1981), Breves II: I. Ligaduras. Allegretto Moderato
26. Peças Fáceis (1981), Breves II: II. Harmônicos Naturais. Andantino
27. Peças Fáceis (1981), Breves II: III. Arpejando. Allegro Moderato
28. Peças Fáceis (1981), Breves III: I. Quatro Ligadas. Allegretto Moderato
29. Peças Fáceis (1981), Breves III: II. Imperial. Moderato
30. Peças Fáceis (1981), Breves III: III. Repetidas. Allegretto
31. Peças Fáceis (1981), Breves IV: I. Uníssonos. Allegretto Moderato
32. Peças Fáceis (1981), Breves IV: II. Segundas. Andantino
33. Peças Fáceis (1981), Breves IV: III. Terças. Presto
34. Peças Fáceis (1981), Breves V: I. Quartas. Allegro Molto Moderato
35. Peças Fáceis (1981), Breves V: II. Quintas. Andante
36. Peças Fáceis (1981), Breves V: III. Sextas. Tempo de Paso-Doble
37. Peças Fáceis (1981), Breves Vi: I. Sétimas. Alla Polca
38. Peças Fáceis (1981), Breves Vi: II. Oitavas. Andantino
39. Peças Fáceis (1981), Breves Vi: III. Sucesivas. Allegro Scherzoso
40. Caderno de Mariza (1983): I. Entrada. Allegro Comodo
41. Caderno de Mariza (1983): II. Violão À Bordo. Andantino
42. Caderno de Mariza (1983): III. Caprichosa. Adagio
43. Caderno de Mariza (1983): IV. Menino da Congada. Allegretto
44. Peixinhos da Guine

César Guerra-Peixe (1914-1993) was a Brazilian composer, violinist, and musicologist whose work reflects a deep engagement with both European classical traditions and the rich diversity of Brazilian folk music. Initially influenced by modernist and serialist techniques, Guerra-Peixe later shifted toward a nationalist style, incorporating rhythms, melodies, and structures derived from regional traditions across Brazil. This transition marked a significant phase in his career, as he sought to create a distinctly Brazilian voice within the concert music tradition.
Although Guerra-Peixe is not primarily known as a guitar composer, his contributions to the instrument are notable for their craftsmanship and cultural authenticity. His complete works for solo guitar are relatively few compared to major guitar composers, yet they hold an important place in the Brazilian guitar repertoire. These pieces reflect his ethnomusicological interests, often drawing on northeastern Brazilian musical idioms, such as baião, maracatu, and frevo. Through these influences, Guerra-Peixe infused his guitar music with rhythmic vitality and expressive nuance.
His guitar works demonstrate a clear understanding of the instrument’s technical and expressive possibilities. Rather than treating the guitar merely as a harmonic accompaniment, he explores its capacity for polyphony, timbral contrast, and rhythmic complexity. The writing is idiomatic, making effective use of open strings, varied articulations, and dynamic contrasts, while remaining accessible to skilled performers.
Played with great feeling for the idiom by Flavio Nati, one of Italy’s foremost guitarists, winner of the Golden Guitar. He played in Carnegie Hall New York as soloist in the guitar concerto of Castelnuovo-Tedesco.