From l. to r.: Cindy Horstman’s arrangement of “I Wonder as I Wander” for harp trio is “reinterpreted in a contemporary format;” Glenn L. Rudolph’s Christmas Carol Trilogy is an “interesting new creation” for organ and harp; and Joy Slavens’ “creative and contemporary” arrangement of “Silent Night” can be played on lever or pedal harp.

In the blink of an eye, the holidays will be upon us, so now is the time to start preparations. There are several new publications of seasonal music worth considering.

If you’re a fan a Cindy Horstman’s arrangements, you may be familiar with her jazzy arrangement of “I Wonder as I Wander” for harp trio. She took this traditional carol and changed the beats per measure from six to four, added some jazz harmonies, and reinterpreted the piece in a contemporary format (reviewed in the September/October 2011 issue of Harp Column). She has now arranged it for solo harp so it isn’t just the trios having all the fun.

Like the trio version, there are three verses and it begins with a slap bass and jazz riff that establishes the groove. The first verse has the right hand playing the single-note melody against the rhythmic left hand. The second verse moves the right hand up an octave, but it’s otherwise the same. The third verse jumps back and forth between octaves every four measures.

In between verses the jazz riff just keeps the rhythm going. After the last verse, she keeps the riff going a little longer and adds little ornaments every four measures to the end. The left hand is more challenging than the right hand, but the arrangement is readily playable for the intermediate to advanced player. The rhythm is a little tricky, but Ms. Horstman offers an MP3 recording of it on her website (www.cindyhorstman.com) so you can listen and play along.

This arrangement is for pedal harp, but there is only one pedal change and it is clearly marked below the staff. It can be adapted to lever harp by simply scaling down the range of notes used and pre-setting the fourth octave F to sharp. When the F is supposed to change to natural, simply re-voice the left hand chord to include the third octave F natural, and you won’t even have to move the fourth octave F lever. Try it!

For those who like to combine organ and harp, there is an interesting new creation for that duo. Pittsburgh composer Glenn L. Rudolph was commissioned by Dr. David Billings, organist, and Lucy Clark Scandrett, harpist, to write Christmas Carol Trilogy. Published by MorningStar Music Publishers, this work combines a trio of three lesser known carols. The entire piece is between five and six minutes in length.

The harp begins the Irish folk melody, “Wexford Carol,” with a gentle rocking feel in 3/4. The organ enters with the melody in a simple one hand melody with reeds. The harp takes the melody solo for a short eight measures and then is rejoined by a fuller organ accompaniment. The time signature changes to 4/4 to begin the transition into “Blessed Be That Maid Marie,” a traditional English carol.

The harp again begins with the melody. After the organ takes over the melody, the harp plays a simple arpeggiated pattern throughout the rest of this piece. The harp plays a modulation to change key and introduce “Masters in This Hall.” This starts out in 12/8 with a strong march tempo.

The organ plays the melody alone for a while and then the two instruments combine in a complementary pattern to modulate keys again. The organ resumes the melody with the harp adding dramatic double scale glisses every few measures. There are a couple of full measures with sweeping glisses before the harp brings the piece back from its swirling climax to a single note melody on harp. The organ follows playing a single note melody accompanied by harmonics on the harp. The harp plays harmonics to the end.

It is a very effective presentation and not difficult to play. A separate harp part is included with the organ score. If you have an opportunity to play in church with an organist, this would be a wonderful choice for a service almost anytime throughout advent.

Joy Slavens has a new arrangement of “Silent Night” for lever or pedal harp. This is based on the original “Silent Night” by Franz Grüber, but Slavens has made some significant adjustments in her self-published version. This edition from Expressions of Joy is in E-flat. There is a four-measure introduction that uses rolled chords and a single, left-hand harmonic.

The melody begins with both hands playing rolled chords in unison on every beat. I couldn’t help wondering if the chord in measure 10 was supposed to be a B-flat 7 inversion instead of the G7 chord she used, but she did use many unusual chords and voicings. There are some scale glisses and a few arpeggios. There is a section after the first verse that could be either a free form verse or an interlude or both. It is followed by another verse using larger rolled chords with some single melody notes this time and a few triplets. The piece ends with the same pattern as the intro and a little quote of “silent night” at the end.

This is creative and contemporary, and just a little confusing because it contains more measures than you would usually find if there was just an interpretative verse included. However, it’s still enjoyable and easy to play, and it’s five pages of an adaptation of a Christmas classic. •

Jan Jennings is the music review editor for Harp Column and is the author of The Harpist’s Complete Wedding Guidebook and Effortless Glissing.