With composer, counter tenor, and lutenist Mark Rimple, I created a concert of music for counter tenor, electric guitar, and laptop. We performed at West Chester University (where Mark and I both teach) and for an event benefitting Dustin Hurt's
enlightened Bowerbird. 
Saturnalia! 
Music by Van Stiefel (b. 1965, Atlanta) is music in which lyrical voices are often teased out of unusual instrumental combinations: electric guitar quartets, laptop ensembles, turntables, as well as more conventional ensembles.
Trained as a classical guitarist at an early age, Stiefel attended the Centro Flamenco Paco Pena in 1983, studying with guitarist John Williams. He was later the Andres Segovia Memorial Fellow at the Banff Centre for the Arts in Canada, and while there, was drawn to contemporary music and the electric guitar. His present guitar music now exhibits an odd synthesis of classical and electric guitar strategies. He has collaborated with a variety of artists and ensembles including: artist Caroline Lathan-Stiefel, improvisation trio maison vague, Ursula's End, guitarist Eliot Fisk, Nurit Pacht, Dan Lippel, the Vega String Quartet, choreographer David Dorfman, the Nash Ensemble, Thamyris Contemporary Music Ensemble, the Minneapolis Guitar Quartet, the Talujon Percussion Ensemble, and the Macon Symphony.
Between 2000-03, he performed with the Sap Dream Electric Guitar Quartet, with works featured on the New York Guitar Festival and the Norfolk Chamber Music Festival. He has performed with and written music for guitar legend Benjamin Verdery, whose CD compilation of new music for classical guitar entitled Soepa features music by Stiefel. Significant commissions include those from the Atlanta Olympic Festival, Arts Festival of Atlanta, and the Fernbank Museum of Natural History. Stiefel has a B.A./M.Mus from Yale University; in 2003, he completed the Ph.D. in music composition from Princeton University. After teaching counterpoint and musicianship at McGill University in Montreal, Stiefel became Assistant Professor of Music Theory and Composition at West Chester University School of Music in Pennsylvania. He co-directs New Music at West Chester University and the WCU Laptop Quartet.
In the the early '90s, guitarist Benjamin Verdery first performed On Wet Roads on Autumn Nights, recording it ten years later. It is available for download. On Wet roads on Autumn Nights is titled from a line of Wallace Stevens' Sunday Morning, a poem in which the protagonist finds the divine not in some eternal paradise but in her own sensuous experience of beauties fleeting and mortal. "Death is the mother of beauty," a line from the poem captures this sentiment and pretty much sums up what it is I love about the sound of the classical guitar. While I studied the guitar for many years, this work is the only serious solo I've written for the instrument. I like to think of it as a summation of memories, images, and icons that I associate with the it. The music of Barrios is one of those associations. I regard him not only as the greatest composer-guitarist, but arguably the first post-modern composer; beauty and irony are never far apart in the surface of his music. The other, perhaps more recognizable, sound-image comes from John Barry's Midnight Cowboy score, much of the piece is built around it: a simple descending major mode pattern that remains bright as it spirals downward. 
"...a revelation of music writing and making...a great
listening experience...There are wide swaths of ensemble where
instrument
registers are spread out to give a spacious, cloud-like feeling. It is
as though you can see through the musical fabric. At other times, the
writing is more dense and compact, but in any case the material is
always moving..."Juniper" is a major new addition to the guitar
repertoire."