This is one of Rachmaninoff’s most popular transcriptions based on a violin piece by Fritz Kreisler of the same name.

It has been used by many pianists since its publication, but its popularity on programmes - or as an encore - has waned in the past few decades in favour of flash and dazzle short pieces to get the crowd standing.

Nevertheless, it remains something of a gem to be reintroduced to listeners if not for its technical display (for there is some, albeit understated...) then for its charm.

(But music styles go in and out of fashion often for reasons not altogether clear). 

“Liebesleid” translates from German to “Love’s Sorrow” ...but this is no sad piece, and the term “sorrow” neither indicates nor assumes abject suffering that at times can be associated with, perhaps, a deep love.

But from the sound of the music alone, this piece is contending more with the little sufferings, what the French call “les petits mort” (the small deaths) that are part and parcel of interpersonal love - i.e. longing, separation or even distrust.

By the close of this piece one senses that all is well; wrongs are righted, light is shone and grey clouds have faded into memory. 

This is some of Rachmaninoff’s most characteristic writing for the piano and his cadenza runs the chance of being played with too heavy a hand.

It is easy to engage the keys by playing into them - which is appropriate for everywhere else in the music - but here one must learn to immediately release the keys after depressing them with a consistent, even touch and a light, weightless hand; a technique called “jeu perle” that’s rarely utilized in modern performances, but was part of the arsenal of every pianist into the 20th century.

Listen to Rachmaninoff's transcription of Fritz Kreisler's Liebesleid

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