This splendid piece, originally for piano, is one of the Hungarian composer’s most famous. The theme with long, sweet notes, accompanied by a flowing, elusive left hand, can easily be associated with an instrument as sweet and persuasive as the harp.

Liebestraume No. 3 presents a considerable challenge to the harpist, who must study the duration and quality of almost every single note. The central, ‘fiery’ part needs a more harpistic transformation in its language. Similarly, the two short cadenzas were entirely rewritten by me to make their performance possible, with the aim of remaining faithful to the musical effect of the original. This concerns above all the second one, which, due to the chromatic scale, required a very demanding work of harmonic fidelity; in fact, I consider the solutions adopted in their transcriptions by Renié and Salzedo in this second cadence to be harmonically misleading and of poor effect.