La creación pianística inédita de Joaquín Nin: una aproximación crítica (Musicología global, musicología local. Javier Marín, Germán Gan, Pilar Ramos y Elena Torres [eds.], Madrid, SEdeM, 2013, pp. 149-163).

A critical approach to the unpublished piano works of Joaquin Nin is the result of the analytical study of seven piano plays of the Spanish-Cuban composer (La Habana, 1979-1949). These works, now in the Nation Museum of Music of Cuba, must be placed in the final stage of his career, which took place in La Habana during the decade of 1940, and are of great interest in order to characterize the language and the musical style of his last compositions. In this period, not only he undertook compositional work, but also showed a prolific activity as essayist, pedagogue and interpreter, working in notable institutions of the Island, such as the Conservatorio Municipal de Música of La Habana, the Sociedad Nacional de Bellas Artes y la Sociedad Pro-Arte Musical, only to name a few. The finding of the scores named  «Preámbulo», «Oración», «Diálogo», «Nostalgia», «Coloquio», «La Gloria triste de los cortejos fúnebres» and «Viena 1912», and their study,  have permitted the comparisons with his piano plays of earlier periods (written between 1920 and 1940), and also, the characterization of some of the stylistic features remarkably present in his creations (the interest for musical historicism and the influence of impressionism, the incorporation of elements from different cultural contexts where he participated and the experiential representation of his last years, among others, which reflect, in sum, the stylistic and identitarian evolution of the composer. These music analyses are complemented by references to other documentary sources with an important patrimonial value (such as letters, press, concert programs, conferences, etc.), which will contribute to a substantiated interpretation of Nin.Keywords: Nin, Joaquín, Piano Plays, Unpublished manuscripts, Music Analysis, Stylistic influences.