The triumvirate of Isaac Albéniz, Enrique Granados, and Manuel de Falla defined and elevated the idiom of Spanish music at the turn of the 20th century, each answering the call of their revered teacher Felipe Pedrell (1841–1922) for music that united traditional and folkloric elements with classical disciplines to create a true national style. It is ironic that much of this music, written by virtuoso pianists for virtuoso pianists, is better known to music lovers in transcriptions for classical guitar. Through the championship of a few keyboard luminaries, they have earned the respect accorded them by a place in the piano repertoire.

Isaac Albéniz began composing his Suite española in 1886, soon after entering Pedrell’s sphere. It was intended as a collection of eight pieces, each highlighting a particular region of Spain (including Cuba), but only four pieces were published as individual compositions. Twenty years later, another publisher took up the project, and the suite as we know it was completed. Deliciously atmospheric, by turns languid and festive, the suite’s movements each bear a descriptive subtitle.

The selections we hear tonight begin with “Granada,” a serenade. “Cataluña” is a corranda, a dance in 6/8 time adopted from the Italian corrente. This is followed by “Sevilla,” a Castilian dance with origins in the 15th century. “Cádiz” was originally planned as a saeta, a kind of Andalusian religious lament sung at festivals, but the piece eventually published under this title has no such feeling and is usually listed as a canción, or song. “Asturias” is universally known in its guitar incarnations, and “Cuba” is all tropical perfume, with its gliding, shifting rhythms.

—Grant Hiroshima