From his mid-thirties, Albéniz settled in Paris, where he refined his compositional techniques through deepening his interactions with French masters such as D'Indy, Chausson, Fauré, and Dukas. It can be said that in the suite Iberia, which he began composing at the age of 45 (between 1905 and 1909), Albéniz reached his compositional pinnacle. The fusion of sophisticated technique with a sensibility rich in Spanish character resulted in a highly original masterpiece, lauded by composers such as Debussy, Messiaen, Granados, and Falla.

Comprising 12 pieces across four volumes, the suite bears the subtitle '12 nouvelles "impressions"'. It embodies Albéniz's desire to convey the music of Southern Spain to the world, imbued with a sense of nostalgia and admiration for the region.

The suite Iberia is widely recognized as one of the most challenging works in the piano repertoire, owing to its distinctive pianism and complex notation. Albéniz's pupil, Blanche Selva, successfully premiered the complete work and contributed to its dissemination. The total performance time is approximately 1 hour and 20 minutes.

Complete Four Volumes

• Volume 1, 1. Evocación / "Evocación": The title signifies "memory, imagery, emotion," among other meanings. The dance form is a fandanguillo (a small fandango). The copla, a type of Spanish folk poetry, is used in the middle section.
• Volume 1, 2. The Port (El puerto) / "El puerto": Refers to the Port of Santa María. It is said to incorporate the rhythms of three dance forms: polo, bulerías, and seguiriyas gitanas. The piece rhythmically depicts the lively atmosphere of the port, including the sound of dancers' footsteps and bright singing voices.
• Volume 1, 3. Corpus Christi in Seville / "El Corpus en Sevilla": A solemn Corpus Christi procession passes by, accompanied by a bass drum. The melody of the famous Spanish folk song "La Tarara" is used. Additionally, saetas, religious songs improvised by the people, can be heard.
• Volume 2, 4. Rondeña / "Rondeña": The rondeña is a dance form considered a variation of the fandango. Its unique atmosphere is created by the alternating 6/8 and 3/4 time signatures.
• Volume 2, 5. Almería / "Almería": The name of a seaport located southeast of Granada. It employs the rhythms of the tarantas, a dance form with a characteristic melody unique to this town, and coplas (songs).
  "Use the soft pedal. This piece should be played softly, freely, but with sufficient rhythm."
• Volume 2, 6. Triana / "Triana": The title refers to the name of a Gypsy quarter in Seville. It incorporates the rhythms of the paso doble (in 2/4 time) and the marcha torera (bullring march). This is a colorful and captivating work, featuring a light first theme and a picturesque second theme. It is often performed as a standalone piece.
• Volume 3, 7. El Albaicín / "El Albaicín": Debussy praised this piece, stating that "there are only a handful of pieces in the world that can rival it." The title refers to a district in the ancient city of Granada. Its guitar-like playing is striking, and its passionate melody evokes a sense of melancholy.
• Volume 3, 8. El Polo / "El Polo": The title refers to an Andalusian folk dance. According to Albéniz, it should be played "with a sobbing feeling." The melody is passionately sung over a light rhythm.
• Volume 3, 9. Lavapiés / "Lavapiés": The title refers to the name of a working-class district in Madrid. It depicts the dance of the chulo (dandy) and the maja (stylish woman). The frequent use of triplets creates a unique rhythmic feel. Harmonic ingenuity is also evident, making it a work particularly praised by Messiaen.
• Volume 4, 10. Málaga / "Málaga": The title refers to Andalusia's foremost resort city. A melancholic theme and the song of the malagueña, a dance unique to Málaga, appear and develop alternately. It is in the Phrygian mode.
• Volume 4, 11. Jerez / "Jerez": The title refers to a town located south of Seville, also famous for its grape production. It is the only piece in Iberia without a key signature. Accidentals, absent in the first 16 measures, are gradually introduced, giving it an ethnic character. It is a piece with captivating tonality, fundamentally written in the Phrygian mode centered on E.
• Volume 4, 12. Eritaña / "Eritaña": Debussy praised it, saying, "The images are so rich that one involuntarily closes one's dazzled eyes." It exhibits a very high degree of sophistication, including changes in the rhythm of the sevillana dance and vivid modulations. It is a work rich in Spanish character.