Heitor Villa Lobos is regarded as the most important creative force of 20th century Brazilian art. Born in the 19th century and active in the 20th century, his music is reminiscent of both epoques. His enormous catalog numbers over a thousand compositions, comprising an array of styles from traditional experimental. Never receiving any formal training, he was introduced to music by his father who taught him to play the cello and clarinet. Villa Lobos soaked in the musical culture from the soirées his father frequently hosted in their home. As a young man in Rio de Janeiro, Villa Lobos played for silent movies at the Cinema Odeon and later at the Opera Orchestra. When the Ballets Russes traveled to Brazil, he played in the orchestra and was introduced to the iconic music of Stravinsky and Debussy. Jason Solounias has performed across the United States and Europe at venues ranging from Kennedy Center to Southwark Cathedral and has appeared as a soloist with the Trinity Chamber Orchestra and the Pan American Symphony Orchestra. Jason began his studies in his hometown of Havre de Grace, Maryland with Ierene Yeakel and completed his Bachelors of Arts at Stephen University with Scott Beard

Since its outset at the turn of the 19th century, the six-string guitar has been an inseparable part of Spain’s musical life. Although Italy and France were also prolific centers of performers, composers and builders during the early decades of the century, Spain later became the instrument's iconic country. Guitarists started accompanying flamenco singers, making the guitar an intrinsic part of the art form and positioning it as Spain’s national instrument. Many concert guitarists --most notably Julián Arcas-- included it in their performances and compositions. Both flamenco and classical guitars increased their volume, quality of sound, and overall possibilities with the designs by luthier Antonio de Torres, whose construction standards have remained unchanged to this day. A long list of referents would ensue in later generations, including Francisco Tárrega, Miguel Llobet, Emilio Pujol and Andrés Segovia. Moreover, both Spanish and foreign composers evoked the sound of the guitar and the forms associated with it as an immediate reference to the Mediterranean country.

In Tel Aviv, emigrated Jewish architects from Germany such as Arieh Sharon adapted the principles of Bauhaus design to the extremes of the climate. White and Light colors and small recessed windows served as protection against the heat and glare of the desert. Generous shaded balconies were incorporated into the buildings so that residents could catch the breeze from the sea. Hundreds of these buildings came to define the character of the growing metropolis in the 1930's and 1940s. In 2003, Tel Aviv "White City" became an UNESCO World Heritage Site as the world’s largest still existing collection of Bauhaus style buildings. It is this place that inspired mandolin player Aon Sariel and pianist Michael Tsalka to record this album with music from J.S. Bach and Yehezkel Braun.