This article and associated interview were clearly finished before the fifth guitar sonata was completed.
Ourkouzonov's music is some of my favorite from the contemporary guitar scene. I am very partial to the idea of a folk-jazz-classical fusion, too. Being in the Pacific Northwest in the United States the folk materials I draw upon are a bit different, maybe radically different from what Atanas does but I share a passion for the paradigm of a folk-jazz-classical fusion. Leo Brouwer has indicated, if memory serves, that these sorts of experiments have been going on for, well, basically generatons but that contemporary musicology has not had much use for these kinds of fusions. Academic musicology might arguably depend upon the conventions that are, on paper at least, viewed with skepticism. I doubt more than ever that we're really "post genre".
I do plan to eventually get around to writing about his guitar sonatas, by the way, but I've managed to overload myself in terms of what I've been trying to write about. S ometimes you have to take a break from writing long enough to read all the stuff you want to read ...
and there's always composing music, too.
before I wrap up this post ...
Both Autoportrait and Autoportrait II are fun albums of contemporary classical guitar. I recommend them both happily. Actually ... I think I have nearly all of the CDs Ourkouzounov and Ogura have recorded and they're all fantastic. :) The KLE 2003 recording could be really, really hard to find these days, though.