Isaac Albéniz's huge contribution to Spanish musical nationalism reached its apogee with Iberia (subtitled Twelve New Impressions in Four Books, 1905-09), but before writing this masterpiece, he had already composed a significant quantity of piano music, much of it falling into the popular nineteenth-century genre of salon music: pieces designed to meet the demand for music to be played by the daughters of the aristocracy and upper middle classes, for whom playing the piano ranked alongside French and needlework as a central aspect of education.

A distinction must be drawn between this type of music, written for European high society, for whom salon music had become a principal pastime, and the kind of music conceived by composers as a vehicle for technical and formal innovation and to be performed by professional pianists whose concerts were equally in demand by that same society. These early works may appear of less value when compared with those that make up the great virtuosic piano repertoire, but they acquire a new and different significance when considered for what they are: a reflection of the society of the time, pieces listened to and performed by our forebears and which formed part of their day-to-day cultural life; enjoyable, well written pieces, whose beauty may be inconsequential but remains moving nonetheless. This is an attractive repertoire usually overshadowed by the masterpieces that define the development of piano technique.

The 6 Mazurkas de salón, Op. 66, were composed around 1885 and published by Antonio Romero the following year. Nos.1 and 2 are the same as the First and Second Mazurkas published in London by Stanley Lucas, Weber Co. in 1890. Written for Albéniz's teaching work with the daughters of the wealthy, they bear on their covers drawings of calling cards with the corners turned down and the name of their dedicatees. Chopin's influence is evident throughout. Mazurka No. 1, Isabel, is dedicated to "the most excellent lady countess of Benhavis", the Isabel of the title. It is marked Tiempo enérgico and is in A flat major. Mazurka No. 2, Casilda, dedicated to "the aristocratic and eminent artist Miss Casilda Alonso Martinez", is marked Allegro and written in F minor. Mazurka No. 3, Aurora, is dedicated to "my distinguished friend Miss Aurora Benamejis" and marked Non troppo and elegante, both most suitable terms for salon music. Mazurka No. 4, Sofia, is the shortest of the set and the one which owes most to Chopin. It is dedicated to "my distinguished pupil Miss Sofia de Patilla". Mazurka No. 5, Christa, was for "my adorable little friend Christa Morphy", daughter of his patron and friend Count de Morphy. This is the longest of the six, marked Presto, and therefore not waltz-like in nature. Mazurka No. 6, Maria, in G major, for "my dear, good pupil Miss Maria de Vida", has the greatest wealth of harmonies and is marked Tiempo giusto