The importance of the guitar is evident throughout the span of Paganini’s activity as a composer, and it is possible that as a boy, before he began to practice on the violin and the “chittara francese”, he received from his father his first musical grounding on a “mandolino genovese”, an instrument that had six courses or six single strings, with the same tuning relationship as that of the guitar. The Catalogue’s chronological list ranges from 1795, with Carmagnola con variazioni ms. 1, to 1835, with Variazioni sul Barucabà, an entire cycle of compositions that features the constant presence of a guitar in combination with string instruments. This context contains the compositions for solo guitar, which are divided into three groups: Ghiribizzi, Sonate, and Compositions of various types, including some Sonatine. The recording dedicated to Paganini”s opera omnia for guitar is divided into two double CDs, the volume includes the large corpus of the 37 sonatas relating to manuscript 84 and the Grand Sonata (ms. 3), a composition of great importance for its size and technical depth of writing. Mauro Bonelli, for the realisation of this work, used a period guitar with catgut strings, tuned to 415 Hz: nineteenth-century Austrian guitar without a label; the fact that its fretboard can be tilted by means of a peg connects it with the best Legnani-Stauffer tradition.