“O Little Town Of Bethlehem (Second Version),” arranged by Polly Bekasova, is an energetic advanced piano arrangement of the beloved Christmas carol. Marked Allegro, this version uses a considerably more active piano texture, with repeated-note figures, moving accompaniment patterns, chordal writing, and frequent changes of register. The familiar melody remains recognizable while the accompaniment gives the piece a lively, technically demanding character. The arrangement spans 4 pages and develops continuously toward a substantial closing section.

Measures 1–26 establish the Allegro character with a busy piano texture surrounding the melody. Repeated-note figures and active accompaniment patterns create continuous motion, requiring good coordination between the hands while keeping the melodic line prominent.

Measures 27–51 continue the main musical material while increasing the density of the piano writing. The accompaniment contains numerous repeated figures, while sustained notes and longer melodic gestures provide contrast. Changes in register help give different phrases their own character.

Measures 52–69 move into another substantial section of the arrangement. The repeated-note accompaniment becomes especially prominent, with contrasting sustained tones and chordal moments providing variety. The performer needs to maintain rhythmic precision while bringing out the melody within the fuller texture.

Measures 70–84 form the final major section. The repeated accompaniment figures continue underneath the melody, with several sustained notes and chordal sonorities creating a sense of arrival. The writing becomes increasingly focused on bringing the arrangement toward its conclusion.

The final measures resolve the piece with repeated accompaniment figures and sustained closing sonorities. The ending provides a firm and clearly defined conclusion to this energetic version of the carol.

Interesting fact: “O Little Town of Bethlehem” began as a poem written by Phillips Brooks in 1868 after his 1865 visit to Bethlehem. Brooks was then rector of the Church of the Holy Trinity in Philadelphia. His church organist, Lewis H. Redner, supplied the music that became the familiar American tune “St. Louis.” The carol is also traditionally sung in Britain to the different tune “Forest Green,” adapted by Ralph Vaughan Williams from an English folk melody.