The Concerto for guitar and strings, in A minor, written in the manner of Vivaldi, served as a compositional laboratory in my first investigations of music style as a composer. At the time, I tried to put in a work of mine the harmonic and textural impressions that I perceived in the appreciation of the music of the master of the Italian Baroque, to achieve a sonority which could represent a sound realization of my admiration.

Although it was written in an absolutely tonal language, the experience of composing a work of this size served to understand the bases of tonal writing in the Common Practice. Formally, the concert follows the fast-slow-fast vivaldian model for similar works, and makes, like him, use of a restricted set of small motifs that engender each movement.