The "School of Carulli" approach is my own tentative answer to the question, which is simply stated in two parts: 1.

Given this fecundity, why is so much of Carulli so good? 2. And why is so much of the rest of it so bad? (Look at
the lone--and exquisite--Rubens in the National Gallery in Washington. All the difference in the world: this one he
painted himself.)
All right. Let's see if I can find you some good Carulli to play. Try, for starters, then, a fat volume called Oeuvres
choisies pour guitare seule, a 1979 facsimile edition selected by Franois Lesure for Minkoff Reprints, Geneva. You
may even have some fun with this book. There are, for instance, student pieces virtually anyone can play, and some
of them are quite beguiling: the three easy sonatas of op. 7; six delicious sets of variations, op. 73, on Airs Nationaux
de tous les Peuples d'Europe; a simple, programmatic pice historique called La Paix, possibly commemorating the
end of the 1830 revolution.