Albeniz composed two collections titled "Suite Española," but this first collection is the one generally well-known. It is an early work by Albeniz, known as an eight-movement suite. However, originally only four movements (Nos. 1, 2, 3, and 7) were composed in 1886, and for the remaining four movements (Nos. 4, 5, 6, and 8), only the titles remained. After Albeniz's death, the publisher assigned other existing compositions by him to these four title-only movements and published them. All movements are strongly Spanish in character, featuring vibrant rhythms and guitar-like sonorities. It is also famous for its arrangements for guitar.

No. 1: Granada / "Granada (Serenata)"

This piece embodies Albeniz's feelings for Granada, an ancient city in Andalusia. At the age of 22, Albeniz spent time in Granada and deeply loved the city with its unique charm. He described this piece in a letter as "a serenade that is madly romantic and hopelessly sad." An attractive work, featuring guitar-like accompaniment and a beautiful melody.

No. 2: Cataluña / "Cataluña (Coranda)"

A work that evokes the atmosphere of Catalonia, Albeniz's homeland in Spain. It is written to imitate the sound of the hurdy-gurdy, an instrument traditional to this region. In a dance-like 6/8 meter, the repeated hurdy-gurdy sounds gradually fade away.

No. 3: Sevilla / "Sevilla (Sevillanas)"

A work imbued with the atmosphere of Seville. It takes the form of A-A'-A-B-A. To the fast tempo of the Sevillanas dance and the rhythm of castanets, the theme of the festival (Holy Week of Easter) is passionately sung. In contrast, the middle section features the melancholic religious song, Saeta. Ingenious pedaling would likely be necessary to effectively connect the sounds while making the most of the rhythm.

No. 4: Cádiz / "Cádiz (Cancion)"

"Serenata Española," Op. 181 to this.

A piece that evokes the atmosphere of Cádiz, a port city northwest of Gibraltar. In ternary form. To the rhythm of a Spanish dance, a masculine serenade is sung expansively. After a passionate middle section, it returns to the opening rhythm, concluding quietly at pp.

No. 5: Asturias / "Asturias (Leyenda)"

"Prelude," from the suite "Cantos de España," Op. 232. Asturias is a region in northern Spain, blessed with mountains, forests, valleys, and pastures. Guitar-like techniques are expressed on the piano, revealing a unique sense of color. It takes the form of A-B-A (-Coda). The rhythmic theme gradually builds, leading to a mysterious middle section. The two-octave unison played here was a device Albeniz frequently employed. The first section returns again, leading to the coda.

No. 6: Aragón / "Aragón (Fantasia)"

"Aragón," from "Dos Danzas Españolas," Op. 164. The Jota dance, known in the Aragón region of northeastern Spain, is depicted with brilliance and exhilaration. The Jota is danced to a fast triple meter rhythm with castanet accompaniment.

No. 7: Cuba / "Cuba (Capricho)"

Cuba was a Spanish territory until 1898, and Albeniz visited it in his youth. While having a bright, tropical atmosphere, it also conveys a touch of melancholy. It is written in a dance form, oscillating between 6/8 and 3/4 meters.

No. 8: Castilla / "Castilla (Seguidillas)"

An adaptation of the fifth movement, "Seguidillas," from the suite "Cantos de España," Op. 232. The region of Castile historically occupied the central part of Spain and was home to a kingdom. The Seguidillas is a triple-meter folk dance that originated there, known for its use in Bizet's "Carmen." Rhythmic melodies are skillfully combined to form the piece. Albeniz's skill and sensibility shine through in elements such as the castanet and guitar accompaniment, modulations, and altered harmonies.