For guitarist Eleanor Kelly, the journey to the classical guitar began in an unexpectedly informal setting.
Eleanor Kelly
“My very first introduction to guitar was through my granddad, who played electric guitar, and he taught me a few chords and riffs on his red Fender Stratocaster when I was about 10 years old,” she recalls.
Music did not immediately take hold of the instrument. “After years of not playing guitar and instead having a few piano lessons, and I think a single violin lesson, I decided to pick up guitar again at 17 and began to teach myself classical guitar.” What followed was a decisive shift. “I just fell in love with the sound of the nylon strings,” she says, describing a turning point that would shape her artistic future.
Joining her local classical guitar society in Liverpool proved equally formative. “I was introduced to the incredible repertoire and decided, last minute, to go and study music at university.” Today, that early sense of discovery continues to define her relationship with the instrument. “I love the intimacy and versatility of the guitar, and my passion for the instrument keeps on growing.”
That spirit of curiosity would later lead her to the music of Carmen Guzmán (1925–2012), encountered through the work of Heike Matthiesen (1964-2023).
“Heike Matthiesen was an incredible ambassador for women composers and, being a guitarist herself, was the person to go to about women’s work for guitar,” Kelly explains. “Learning about Heike’s endeavours and becoming associated with her and the wider scene of guitarists playing and sharing music by women composers was hugely inspiring and has really shaped me as a musician.”
Dedicatoria by Carmen Guzmán – Eleanor Kelly, guitar
Her first encounter with Guzmán’s Dedicatoria proved transformative. “I first heard Dedicatoria on one of Heike’s recordings and was immediately drawn in,” she says. “It’s a beautiful tango that captures the essence of Guzmán’s music, a blend of Argentine folk traditions and classical guitar, and is full of emotion and poetry. I just fell in love with her music instantly, and loved how immediately accessible and expressive it was.”
The composer’s centenary in 2025 provided the catalyst for a deeper exploration. “I was playing lots of her music throughout the year to celebrate and profile her work,” Kelly notes. “I always wondered if there were more compositions to uncover. Fortunately, there were, and so it seemed like the perfect opportunity to record and share this music.”
That search led to a remarkable discovery. After contacting a library in Argentina, Kelly received a collection of previously unpublished manuscripts. “I was completely amazed when I saw the manuscripts. Seeing Guzmán’s music in her own handwriting was quite emotional,” she says. “I feel very connected to this music, and felt a sort of responsibility to make sure that her music would be heard again.”
Working directly from these sources brought both freedom and challenge. “As far as manuscripts go, they were accessible to read and interpreting them was a really fun part of the process, with there being no recordings of the works,” she explains. “Guzmán’s musical language is something that has become so familiar and recognisable to me, but it’s still always a challenge to breathe life into music when you take it from the page.” Recordings of the composer herself proved invaluable. “There are recordings of Guzmán playing and singing, so I was constantly listening to how she played, and this helped me understand her music at a deeper level.”
Dedicatoria by Carmen Guzmán, performed by Eleanor Kelly
The resulting album, recorded with Pixaudio, was captured during the exact dates of Guzmán’s centenary in October 2025. “That felt incredibly special,” Kelly reflects. As her debut recording, the project carries particular meaning. “This is my first recording, and it seemed like the perfect project for me to work on, a tribute to a composer whom I admire deeply and one that deserves more recognition.” Its release in March 2026, at the beginning of International Women’s Month, adds further resonance.
At the heart of the project lies a clear artistic aim. “I hope that listeners will take the time to really indulge in the music,” she says. “It’s very lyrical and emotive writing. It feels intimate yet universal.” She also hopes the album will open wider doors. “More widely, I hope that it might encourage listeners to seek out more music by women composers, whose works are so often overlooked. There is beautiful music out there just waiting to be rediscovered.”
Caricias (Vals No. 12) by Carmen Guzmán – Eleanor Kelly, guitar
For Kelly, this recording is only the beginning. “I’d love Guzmán’s music to reach as many people as possible,” she says. With performances already taking her across the United Kingdom and further concerts planned, her ambitions extend well beyond the present release. “I’m really passionate about collaboration and sharing resources, so creating editions of the scores that are out of print is something I’m working on.”
Future plans also include expanding the repertoire itself. “Guzmán was also a singer, as well as a guitarist, and worked with renowned Argentine poets to set their words to music,” she notes. “I’d love to transcribe those works, too. It’s a project with many possibilities and has my primary goal at the center, illuminating forgotten works by women composers.”
What emerges is not only a portrait of a guitarist at the beginning of her recording career, but of an artist engaged in a broader act of rediscovery. Through performance, research, and advocacy, Eleanor Kelly is helping to ensure that Carmen Guzmán’s voice is heard once more.
Performed by Eleanor Kelly
Released by Pixaudio
Release Date: 6 March 2026
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