Classical guitar making which gives these instruments (lutes, early romantic guitars) a type of "inner" vulnerability, lacking in the modern guitars. (In fact there are people who claim that a performer's interpretational style is psychologically related to the instrument's aesthetic; and that this can even be observed in contemporary recordings, e.g., Bach's lute works as performed on lute(with convincing expressive phrasing), versus the markedly different interpretations of these works on the modern classical guitar. Alternately, the Spanish repertoire such as Moreno Torroba, would be completely unfitting, for a lute or early-guitar sound aesthetic.) Even amongst parlor guitar players, there are some that consider
Classical guitar by audiences in the USA. The classical guitar repertoire also includes modern contemporary works – sometimes termed "New Music" – such as Elliott Carter's "Changes", Cristóbal Halffter's "Codex I", Luciano Berio's "Sequenza XI", Maurizio Pisati's "Sette Studi", Maurice Ohana's "Si Le Jour Paraît", Sylvano Bussotti's "Rara (eco sierologico)", Ernst Krenek's "Suite für Guitarre allein, Op. 164", Franco Donatoni's "Algo: Due pezzi per chitarra", etc. Performers who are known for including modern repertoire include Jürgen Ruck, Elena Càsoli, Leo Brouwer (when he was still performing), John Schneider, Reinbert Evers, Maria Kämmerling, Siegfried Behrend, David Starobin, Mats Scheidegger, Magnus Andersson, etc. This