A brief theme in constant harmonic progression introduces an Andalusian Copla. Except for one rather lively passage, this piece is a dedicately melancholic reverie that fades away on pianissimi extremes.

In this piece we hear the hectic activity in the fishing port of Santa Maria located on the bay of Cadix and swept by breezes from the Atlantic.

El Puerto is also a dance that according to the composer's indications must be interpreted "cheerfully" or "very joyfully".

Otherwise it becomes a "very languid " Andalusian melody.

The religious festival is "depicted" as a secular event. The beating of drums accompanies a lively theme, which is repeated with mounting intensity until it reaches the fortissimo. The advancing procession is evoked by an important solemn theme in octaves while, simultaneously , a variation of the elements of the first theme superimposes itself in brilliant bursts of sound, expressions of an indescribably voluable rejoicing. The central portion of the piece, of a private character, provides a remarkable contrast to the introduction that has preceded it. The generously amplified resumption of that introduction reinforces the impression of popular jubilation characterizing the procession as it passes before the ringing church bells.

A powerful quadruple forte brings the general excitement to an end and the procession disappears into the twilight.

A dance in 6/8 and 3/4 time reminiscent of the fandango . It alternates with a delicate malaguena before the two elements combine at the coda.

A dreamy moderation of tempo that nevertheless does not exclude those brusque reactions and passionate outbursts that reach heights to which Albéniz held the secret. The rhytmic construction and the effets of the tonal ambiguities could only have been produced by a magician.

A spirited dance and march (paso-doble and march respectively) which take place in a suburb of Sevilla.

( A hill near Grenade where the ancien city of Elvisa had its primitive origins).

Claude Debussy wrote of this piece: " Few musical words can egual El Albaicin from the third "cahier" of Iberia where one discovers the atmosphere of those Spanish evenings that smell of carnations and aguardiente.

It is like the muted sounds of a guitar lamenting in the night, with sudden awakenings and nervous starts.

Although it does not reproduce precisely popular themes, this work comes from someone who has absorbed them, has listened to them with such understanding that he has brought them into his music without our being able to distinguish the dividing line".

The melodic progressions that structure El Albacin detach themselves from the flights of lyricism, the last of which descends to an ultimate and incisive melodic line, suggesting and archedbacked bullfighter, poised for the confrontation.

The broken rhythms and harmonic curiosities of El Polo lead us to understand why Albéniz whished that this "Song-dance" " be played in a sobbing manner".

Olivier Messiaen was especially fond of this piece, appreciating in particular its rhythmic construction.

A glimpse of a colorful district of Madrid. Piercing harmonic clusters and a constant rhythmic hammering suggest the "knife dances" engaged in by "bad sorts" with their fierce poses and provocative gestures.

A return to Andalusia with a Malaguena which is both passionate and charming.

The name of the city known for its wines was chosen as the title for this rather mysterious musical poem which is extremely subtle.

As always the pianist is given numerous indications as well as imperative requirements for producing and ideal interpretation.

The patrons of a Seville tavern are having a "wild celebration" and the final dances are frenzidly gay. Exuberant, like Malaga, Eritana elicted the enthusiasm of Manuel de Falla, who was an analyst of the gypsy sources of El Albaicin

After having considered including Navarra in the fourth section of Iberia, Albéniz changed his mind. Therefore, it became a separate work of which the final twenty-six measures were composed by Déodat de Séverac after Albéniz' s death on 18 may 1909.

Navarra has several facets which also reflect feelings for hispanic life.