In this transcription I tried to be as faithful as possible to the composer's original idea. This movement of the Sicilian Suite is a waltz, the tempo is 3/4, with the first part of the measure in a more accented chord, and the other two less heavy , (walter's time characteristics). 

I transcribed the horn part in Bb for the harp; the horn part is in E major, while the other instruments are in D minor. I therefore started with the first musical phrase which extends from bar 1 to bar 33. After writing the melody in the right hand, I focused my energies on the left hand. However, the score found was not very clear, but it was the only original orchestral score found; therefore, in some points, I had to reconstruct the harmony based on the other voices or with the help of a transcription for piano. So I began by transcribing the left and incorporating the string part. The effect was almost identical to the original, as the left hand's walz tied the piece together. Basically, I used the cello or bass score for the first quarter note and the other two quarter notes using violas or violin I/II. 

Image 24. Example how the melody and the string voices were put together in the harp arrangment -Francesca Campo, Valzer campestre from Suite siciliana by Gino Marinuzzi, score.

In the first part I looked for the slightly muffled effect that the cornet offers in the original version. Initially, I had thought of doing it with harmonics, but since the tempo was very fast it would not have been very convenient to play the entire melody like this; moreover the left hand often plays chords on metal strings and the balance between the two hands would be lost, affecting the clarity of the melody. Therefore, I thought of doing some tests by playing "près la table" with the right hand: this second solution proved to be successful, because the sound of the harp becomes very concise and clear, but at the same time "nasal", vaguely approaching the effect of the cornet.

Example 87. Theme played in harmonics - Francesca Campo, recording of the attempts during the process of writing the arrangement for Valzer campestre from Suite siciliana by Gino Marinuzzi.

Example 88. Theme played Près de la table - Campo, recording of the attempts for Valzer campestre from Suite siciliana.

During this process, it was essential to insert the pedals. In fact, not always by eye I would have agreed on some difficulties or impossibilities, furthermore by inserting them from time to time it was easier for me to test the various ideas on the instrument.

From bar 34, I decided to report the melody in a varied way: I inserted an arpeggiated chord to give more emphasis and resonance to the half note. 

Image 25. Example of the arpeggios in the chords - Campo, Valzer campestre from Suite siciliana.

From measure 50, however, I broke the chords into eight notes, following a precise scheme, in which the quaver rhythm is the protagonist: when the melody develops in quarter notes I replace it by inserting two quavers an octave apart, always starting from the longest octave high. 

Image 26. Example of the eight notes bar 50 - Campo, Valzer campestre from Suite siciliana.

Instead, when the melody develops on crotchets or crotchets with the dot, I play a broken chord.

Image 27. Eight notes when in the melody the notes are longer - Campo, Valzer campestre from Suite siciliana.

The part that took me the most time, energy and attempts was certainly the central part of the waltz. In this part, Marinuzzi inserts very fast and captivating melody, played by the piccolo and the flute (example 91). Unfortunately, these instruments do not translate well on the harp. By placing the piccolo voice in the right hand and maintaining the waltz tempo in the left, the resulting effect was less playful than the original. As a result, I started doing some experiments to vary the melody. Initially, I had thought that in such a playful and free passage one could do without the hand rhythm of the waltz, which in the original continues to be represented by the strings; and I brought the upper part of the piccolo back to the right hand (example 90), while the left moved to the lower register at a distance of a third from the right hand (example 92).

Example 89. Flaut theme on harp - Campo, recording of the attempts for Valzer campestre from Suite siciliana.

Example 90. Gino Marinuzzi, Valzer campestre, performed by Orchestra Sinfonica di Milano Giuseppe Verdi, conducted by Giuseppe Grazioli, YouTube video, posted by Fabrizio Simone, February 12, 2018, https://youtu.be/8750_visualizzazione.

Example 91. Attemps of the left hand in the flaut theme -Campo, recording of the attempts for Valzer campestre from Suite siciliana.

But once brought to the instrument the whole passage was empty and vague, as if it had no real development, like a succession of meaningless eighth notes. I then moved on to a second attempt, where I kept to always keep the piccolo's voice in the right hand. In the left hand, I avoided the waltz tempo and instead mirroredthe flute part. Therefore, always starting from a distance of a quarter, the left descended and ascended in a mirror image of the right. But even in this case the passage was empty and without development. Another experiment was trying to develop ideas regarding rhythm. 

I proceeded with another option, which was the one that brought me closer to the final version. I understood that keeping the  melody as it was written in the original was not helpfull. Therfore, I decided to start listening to the piece in general, leaving the score aside for a moment and focusing on the colors and sensations that the various instruments generate. This listenign make me opted to completely change the melody, remaining faithful only to the harmony; and it was precisely in this case that the piano transcription published by Ricordi1 helped me. This piano transcription attempted to be very faithful to the original and was really useful for me to clearly extrapolate and certainly harmony. Once I had extrapolated the melody I tried to give greater value to the idea that Marinuzzi had, rather than how he then realized it.

 What I did once I understood the harmony was to distribute it between the left and right hands in arpeggiated chords on an eighth note rhythm. 

Image 28. Attemps of the picolo part basing only on the harmony of the passage - Campo, Valzer campestre from Suite siciliana.

Example 92.  Attemps of the picolo part basing only on the harmony of the passage - Campo, recording of the attempts for Valzer campestre from Suite siciliana.

This last solution was too simple and lacked the characteristic waltz rhythm present throughout the movement. So eventually I brought the waltz rhythm back to the left hand and built ascending and descending arpeggios on the right hand 

Image 29. final version of the passage - Campo, Valzer campestre from Suite siciliana.

A few bars later the violins join in, followed by a string game that gives a feeling of growing suspense. Unfortunately, this effect on the harp cannot be replicated, but left-hand arpeggios alternating with staccato chords helped me achieve the same effect.

Image 30. Crescendo og the violins in the arrangment for harp - Campo, Valzer campestre from Suite siciliana.

Example 93. Crescendo of the violins in the arrangment for harp - Campo, recording of the attempts for Valzer campestre from Suite siciliana.

Exampe 94. Crescendo of the violins in Marinuzzi, Valzer campestre.

This growing tension is "solved" by the horn melody in F. Even in this case, as there are so many important elements in the orchestration, it was not easy to understand what to give priority to. The attempes were the follows.

On the one hand I wanted to make this passage different from the rest of the piece, on the other hand it had to connect in a fluid and natural way with the previous part. Firstly, I transcribed the horn melody in F, and thinking I could give a particular rhythmic effect I decided to keep the waltz rhythm, but by eliminating the first chord, this had an imaginable failure. The first chord, being the most important part of the rhythm in three, left the other two measures alone and incapable of providing rhythm.

 Image 31. Theme of the beginning but variated a bit- Campo, Valzer campestre from Suite siciliana.

 An Albertine bass on the left would not have worked due to the three-way tempo which does not lend itself well to subdivision. At that point it was clear that I could not vary the left hand and, therefore, I tried to simplify things by putting the F horn melody in the left hand. But a single note following another, with such a fast pace, did not have much power. The octaves came to my aid and made the entire passage rich and homogeneous. However, I still wanted to insert elements that could make the passage more complete and varied compared to what was done previously; even the harmonics could not work because they were too light at a point where the dynamics should have been strong. Therefore, in some points I sacrificed the waltz rhythm to insert a sort of echo of the right hand that anticipated or delayed the melody of the F horn 

Once I reached the choir part, initially my idea was to take the melody in a completely different way, but once this variation was written, the melody was so unrecognizable that it did not fit well with the piece 

Image 32. Part of the score of how I fix the passage at the end - Campo, Valzer campestre from Suite siciliana.

I also thought about distributing the melody on both hands and trying to distribute the bass between the hands. A choice that could have been valid but which I discarded because it was too complicated to play. I kept the octaves, but inserting them arpeggiated to give more resonance to the chord and make it broader. The flutes below, however, continued to play their games, so I tried to insert arpeggios between some of the short notes, which certainly do not reflect the games of the flutes but make that character jaunty and lively.

Once the chorus was finished I decided to give the piece a breather before the last take of the melody and an arpeggio performed with harmonics proved to be the most suitable choice (example 96). 

Example 95. Part with the harmonics  - Campo, recording of the attempts for Valzer campestre from Suite siciliana.

After this two bars the piece restart with the theme. In my transcription, I inserted a variation of the melody, which, being already well recognizable by the ear that has already heard it several times, can now distinguish it through the variation. The objective of these short final variations was very precise. The final phrase that closes the movement resumes the beginning with the same melody played by the same instruments and with the same ensemble, like a cycle that closes. If I had resumed the melody immediately, without variation, I wouldn't have highlighted what the other instruments do underneath. In the original, this makes it clear that it’s not yet the recapitulation. By doing  in this way, when I reached the final phrase and returned to the original melody with its waltz rhythm in the left hand, the effect was almost the same.

Image 33. Final phrase - Campo, Valzer campestre from Suite siciliana.

Example 96. The end - Campo, recording of the attempts for Valzer campestre from Suite siciliana.

Example 97. Francesca Campo, demo of the transcription of Valzer campestre for harp, arranged by Francesca Campo.

Document 11. Francesca Campo, Valzer Campestre from Suite Siciliana by G. Marinuzzi, Transcription for harp.