This splendid piece, originally for piano, is one of the most famous by the Hungarian composer. The theme with long and sweet notes, accompanied by a fluid and fleeting left, can easily be associated with a sweet and persuasive instrument like the harp.

Liebestraume n. 3 represents a significant challenge for the harpist, who must study the duration and quality of almost every single note. The central part, “infuocata”, needs a more harpistic transformation in language. In the same way, the two short cadenzas have been entirely rewritten by me to make it possible to perform them, with the aim of remaining faithful to the musical effect of the original. This mainly concerns the second which, due to the chromatic scale, required a very demanding work of harmonic fidelity; in fact, I believe that the solutions adopted in their transcriptions by Renié and Salzedo in this second cadenza are to be considered harmonically misleading and of bad effect.