The biggest challenge when transcribing a legendary piece like this is the comparison that each listener will make with the original score. We must detach ourselves from that idea with courage and create a different dimension. In the first time the harp can embody a mystical and otherworldly universe, in the second the pizzicati of the cello mix with those of the harp creating a wonderful timbre union, finally in the third the plucked strings give the rhythm and the sonority of an elegant and distant ancient ballad.
In the whole piece I made a few tweaks while 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 essentials. I have rewritten the most laborious steps enharmonically and indicated the most effective techniques to achieve the effects. This Sonata requires a perhaps unique technical ability on the part of the harpist, especially in playing the bass. 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 over to play the metal strings at their base strongly and then tone them down with precision. I used the harmonics in some places both to remain faithful to the idea of that mystical universe we were talking about earlier, and to obtain a softer and softer sound without effort.