This thesis investigates underrepresented Romantic-era classical guitar music from the Slavic regions between 1750 and 1850, challenging the perception that the instrument’s solo tradition was limited to a few major composers. The project examines the music of Jan Nepomucen Bobrowicz, Wenzel Thomas Matiegka, František Max Kníže, and Felix Horetzki, who were active performers and composers in their time but are rarely included in modern concert programming. By combining historical research, musical analysis, and performer-led insight, this thesis demonstrates that much of this overlooked Slavic repertoire offers substantial artistic and practical value.