The case of the Guitar – and, specially its Baroque Spanish and Italian repertory which forms the basis of this recoding – is particularly revealing. This is an instrument which had a very strong personality in popular music in the 17th century – by virtue of specific techniques and resources which, undoubtedly, were also used in learned music. Yet, from the beginnings of the 20th century the new conservatory tradition handed it over to mindsets attuned to the piano, which suceded in driving the classical guitarist away from the instrument’s original spirit. So, it is not surprising that a flamenco guitarist, for example, often is possessed of a palette of colours and resources, and a more open approach to the question of sound than the best guitarists of the classical repertory.