The biggest challenge when transcribing a legendary piece like this is the comparison that every listener will make with the sound of the original score. We have to detach ourselves from that idea with courage and create a different dimension. In the first half the harp can embody a mystical and otherworldly universe, in the second the pizzicati of the cello manage to blend with those of the harp to create a wonderful timbral union, and finally in the third the plucked strings give the rhythm and sonority of an ancient ballad with great grace and elegance.

Throughout the piece, I have made few changes, remaining completely faithful both in the texture, avoiding those octave changes with a mediocre effect that are sometimes used, and reducing the elimination of some accompanying notes to the bare minimum. I have rewritten the most laborious passages enharmonically and indicated the most effective techniques to achieve the effects. This Sonata requires a technical ability on the part of the harpist that is perhaps unique, especially in playing the basses. The piano is capable of playing a dotted note in its lowest octave clearly; here, the harpist will have to place the harp completely on the ground and bend down to play the strings at their base forcefully and then muffle them in rhythm with precision. I used the harmonics in some places both to make it easier to reach that mystical universe we were talking about earlier, and also to achieve a softer, more effortlessly flat sound.