According to What We Hear in Music (1924), By Anne Shaw Faulkner, Kreisler borrowed and arranged the theme of his Liebesleid (sometimes spelled Liebeslied) from an olden Viennese Waltz (330). Even this unparalleled lyrical masterpiece was not immune to the harsh scrutiny of the last century's critics; in The Musical Times and Singing-class Circular (1922) in an article titled 'Gramophone Notes', an author called 'Discus' writes 'The lack of originality in [Liebesleid] reminds us that Kreisler, the violinist, is streets ahead of the composer of the same name.' He had written that Rachmaninov's arrangement of the aforementioned waltz allowed the piece to sound more 'effective' than 'it is'. It should be mentioned that 'Love's Sorrow' belongs to 'Three Old Viennese Dances' (No.2).