Del alhambrismo romántico de "Lindaraja" al mito velazqueño de "Vulcano": la obra para guitarra de Eduardo Morales-Caso, un compositor de la diáspora cubana del siglo XXI

The guitar works of the Cuban-Spanish composer Eduardo Morales-Caso form a reference point in the musical production of the Cuban diaspora of the twenty-first century and composition for classical guitar in the context of Spanish music today. With more than twenty guitar works in different genres, his compositional discourse shows a unique approach to the Spanish universe of music and culture. This fact is especially striking if we take into account the Caribbean origin of the composer and the complexities of identity faced by every artist who migrates. Considering the basis of this reality, our interest centers on knowing the modes of adaptation and negotiation that his discourse shows through confrontation with the new cultural milieu of reception (Spain). The works analyzed in this article from interpretive, stylistic and structural approaches (El jardin de Lindaraja y La fragua de Vulcano) reveal significant examples of the composer’s search for and deepening of a high technical level and virtuosic guitar discourse that is open, from contemporaneity to the assimilation of Spanish tradition, adopted as his own.