—by Jan Jennings

Loucks, Rensch, and Trotter offer new collections.

Jan Jennings is Music Review Editor for Harp Column.

Jan Jennings is Music Review Editor for Harp Column.

RoJean Loucks’ background as a therapeutic musician is evident in her new assortment of original harp music, Gratitude. There are 12 lovely pieces in this comb-bound book published by Roharps Publications.

The music is completely diatonic and can be played on pedal harp or lever harp tuned to F Major. The tunes are grouped by key: the first section is in the key of G, the next set is in C, and the last set is in F. Some fingering is suggested and may help beginners, but intermediate players should not need this.

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Some of these melodies are fairly easy, such as “Rainy Morn” or “Chasing Butterflies,” which are quite simple and yet very appealing. A young student might enjoy performing the latter piece. Several are meditative like the title tune, “Gratitude,” as well as “Elegy for Aryn,” “Hope,” “Letting Go,” and “Solitude.” Others, like “New Beginnings,” are almost like hymns, and this particular piece is somewhat reminiscent of “Be Thou My Vision.”

RoJean Loucks delivers “some beautiful, readily playable, largely meditative music.”

RoJean Loucks delivers “some beautiful, readily playable, largely meditative music.”

“For Joshua” is a little more challenging, but not difficult. “Peter’s Delight” is an upbeat piece that feels like a dance. “In God’s Hands” uses the widest range of the harp—from sixth-octave C to first-octave G—and a few big stretches of tenths in the left hand.

Mrs. Loucks shares some very personal events through her compositions. “Farewell” was composed in memory of her late husband. It features larger, rolled chords—many of them half notes and whole notes, giving you time to pause and absorb the resonance of the harp. It is hard not to feel her pain and loss when playing this piece, yet it has a soothing quality.

The use of sevenths, ninths, and some suspensions add interest to the pretty harmonies throughout the book. Intermediate players can sight-read all this music, and there are various settings in which it could be useful. It is printed on heavy paper and only a few page turns are inconvenient.

If you want some beautiful, readily playable, largely meditative music, you will enjoy this collection.

Most well known as a harp historian and author, Roslyn Rensch’s eclectic collection is reprinted.

Most well known as a harp historian and author, Roslyn Rensch’s eclectic collection is reprinted.

Most harpists are familiar with Roslyn Rensch’s informative books, The Harp and Harps and Harpists. But they may be less familiar with her book of arrangements, especially since the original Salvi Publication is out of print. The International Harp Museum has reprinted this eclectic collection, Six Solo Pieces for the Harp.

This music is for the pedal harp and is suitable for the intermediate to advanced player. Some of the pieces are sight-readable, but others are more difficult.

The first offering is “Prelude in G-flat,” written by harpist Edmund Schuëcker (1860-1911). Dr. Rensch took an excerpt from one of his longer solo pieces and arranged it to use as, “a solemn but pleasant-sounding short harp solo as offertory music at church.” This does indeed suit that purpose well. The piece begins in 4/4 and features large, rolled chords. The second half of the piece is in 6/8 with the left hand playing a running eighth-note pattern.

“The Cat’s Bagpipe” is an Irish jig in D Major. If you omit the pedal slides you could play this on lever harp, but the slides really mimic the wail of a bagpipe. A Passacaglia based on Biber’s Sonata for solo violin is the source of “The Guardian Angel.” There are several harmonics and double harmonics in this piece, and the frequent pedal changes are clearly marked below the staff. “The Strife is O’er” by Palestrina includes some glissandos and finishes with harmonics.

The last two pieces are the most challenging selections. “Josephine Impromptu” is a showy period piece with an indicated tempo of presto that would make a good finale or encore. “Vermeland” is based on a Swedish folk song and includes a little bit of everything: arpeggios, glissandos, and harmonics. It is moderately slow and is meant to be very expressive.

The book is staple bound but is not very thick, so it stays open on the music stand. It is printed on buff-colored paper, and the typesetting is easy to read. Page turns are fairly well planned and a list of explanations of the signs used is printed in the front of the book.

These solos provide a wide variety of music and are a useful addition to the harp literature.

Louise Trotter’s Bluegrass Country Medley offers a refreshing change of pace.

Louise Trotter’s Bluegrass Country Medley offers a refreshing change of pace.

For a total change of pace, consider Louise Trotter’s “Bluegrass Country Medley.” This self-published arrangement for lever harp includes “Red River Valley,” “Arkansas Traveler,” and “Turkey in the Straw.” It is just three pages in length and the page turn is quite manageable.

The music is not difficult, although there are some fast passages in the right hand, especially on “Arkansas Traveler.” Mrs. Trotter includes suggested fingering for these sections. Otherwise, the notes fall pretty comfortably in the hands. She concludes the medley with a whimsical phrase that will probably draw chuckles of recognition from the audience.

It is easy to imagine the inimitable Louise Trotter performing this medley, but if you’re looking for something that is fun to play (or perhaps to entertain seniors at a retirement community), give this a try! •

Jan Jennings is the music review editor for Harp Column and is the author of The Harpist’s Complete Wedding Guidebook and Effortless Glissing. You can email her at mail@harpbiz.com.