The listener who approaches the pieces of this repertory for the first time will first note the felicitous union in chamber music between the flute and the guitar, characterized by the marked difference in timbre which amplifies the space of the sound, and sculpts and beautifies the instrumental dialogue. While the flute has a vast number of solutions available (with practically all the instruments of the orchestra), for the guitar, whose viewpoint and horizon of choices are more restricted, the relationship with the flute is one of the happiest combinations, comparable only to that with the voice (among whose illustrious precedents is the accompaniment by the Renaissance lute or the vihuela). This type of duo appeared early on, starting from the foundation of the modern guitar repertory between the eighteenth and nineteenth centuries, as the two pieces by Ferdinando Carulli and Francesco Molino, among the maestri and protagonists of the modern six-string guitar, demonstrate here. In the early nineteenth century, the figure of the solo guitarist prevailed. This was in the context of self-affirmation and promotion of the instrument on the international concert scene (we see this in the exemplary career of Andrés Segovia). For some time, in fact, it compressed and almost cancelled the chamber dimension of the guitar. This re-emerged in the late twentieth century, and is well represented in the pieces of Ibert, Villa-Lobos and Burkhard, to which the compositions of Margola, Zanettovich and Piazzolla were later added.