This became Rachmaninov's most popular transcription of the thirteen he wrote for piano. It appears to be more faithful to the original score than any of his other efforts, even including the two transcriptions of his own songs. Still, for all its brilliant colors and deft writing, it cannot quite capture the range of expression and luminous moods of Mendelssohn's original score.

Rachmaninov renders the music played by the reeds in the opening well enough, and even portrays the ensuing passage where the strings pick up the lively, vibrant theme with convincing, colorful piano writing. But thereafter as the music gathers a more expressive and richer palette, with various instruments and sections of the orchestra sharing the spotlight, the piano's limitations become more noticeable. Still, Rachmaninov enacts the music, its humor and high spirits, about as effectively as one could hope for.

Mendelssohn's opening theme is vaguely reminiscent of the one he used in the finale of his Fourth Symphony, the Italian. It is unrelentingly energetic; thus, to capture its effervescence effectively, Rachmaninov fashioned his transcription into an unremittingly difficult showpiece. But the music is light in its fleetness, missing those typically massive Rachmaninovian chords, the writing much closer here to his leaner, drier, more Classical side. The piece is a delight, even if it does not encompass the sonic world and colors of the orchestral version.

A typical performance of this composition lasts around four minutes. Orchestral renderings would perhaps tend to be a little longer.

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