In recent years a number of composers have explored the tonal chemistry of timbre and texture offered by the ensemble of cello and guitar. The examples here, from South America and Eastern Europe, are among the most ambitious and technically demanding yet to have been written. Vivacious Latin-American rhythms, such as the Milonga and Chacarera, are explored by Edwin Guevara, while the Bulgarian Atanas Ourkouzounov creates an aura of indigenous folk culture in Tanzologia. Both lyricism and rhythmic dynamism suffuse Dušan Bogdanović’s Quatre pièces intimes.