Seis caprichos

Lorca and the avant-garde artists of the 1920s were turning remarkably their interest to the guitar, placing it as a clear Spanish symbol that connects the past with the future. On the one side the revival of the Spanish heritage of the Golden age was expressing the neoclassical values of the so-called “Generation ‘27”, as its manifesto was celebrating Gongora’s 300years death, and therefore the guitar was considered as the continuation of the renaissance vihuela. At the same time historical events like the “Concurso de Cante Jondo” in Granada(1922) and artists like Lorca and Falla show their appreciation for the Andalucian music and the popular guitar. The guitar was then the instrument that will connect the vibrant folklore with the intellectual, the exoticism with the modernism, this what Adolfo Salazar stated as “universal-nationalism”.