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Two Sentimental Songs: Conductor Score & Parts

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Two Sentimental Songs: Conductor Score & Parts

By Joseph Barnby & Alice Hawthorne / arr. Percy Hill

Item: 36-20537452

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Description
These two popular songs from the late 19th century represent the Victorian sentimentalism that was evident in all phases of life during that time. Sweet and Low was composed by Joseph Barnby, a highly respected English composer of choral music. It is characterized by "blue" harmo­nies that have come to be known today as barbershop harmony.

 

Alice Hawthorne is listed as the composer of Listen to the Mocking Bird, however, that is a ficticious pen name. The real composer was Septimus Winner, a well educated black man from Philadelphia who wrote over 200 volumes of music, all under several ficticious names. This tune was composed in 1859, and Winner sold the copyright for five dollars. But in the next 50 years, it sold over 20 million copies. Several other well known songs he wrote are Whispering Hope, Ten Little lnjuns, and Oh Where Has My Little Dog Gone.

 

This arrangement has been dedicated by the composer to an outstanding trombonist and music educator Dale Laukhauf.

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Additional Details
Series: Great Works Publishing - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 1-57-891452-3
ISBN13: 978-1-57-891452-4
UPC: 654690478702
SKU: 36-20537452
Instrumentation: Euphonium 1 (F Horn or Trombone); Euphonium 2 (alt. Trombone); Euphonium 3 (alt. Trombone) and Tuba

More about this title

About the Composer: Joseph Barnby

Joseph Barnby (1838-1896) was an English organist, conductor, and composer whose choral works became pillars of Victorian church and concert music. He served as organist at St. Andrew's Church in London and later as director of the Royal College of Music, positions that shaped his reputation as one of the most performed composers of his era. His gift for melody and harmonic richness made him a favorite among amateur choral societies, and his influence extended well into the 20th century through works that remain accessible to modern ensembles.

Barnby's harmonic language, particularly his use of what would later be called barbershop harmony, reflects the chromatic sensibilities of late 19th-century music. Sweet and Low exemplifies his ability to craft songs that are both emotionally direct and harmonically sophisticated, making them enduringly popular with both singers and audiences.

Why we love this

Barbershop harmony in a euphonium quartet setting is a rare treat that lets your ensemble experience authentic Victorian sentimentalism with a distinctive harmonic flavor. The arrangement respects the melodic strength of these period songs while showcasing the warm, blended sonority that four euphoniums (and tuba) can achieve. You get two contrasting pieces in one score, offering variety without demanding massive amounts of rehearsal time.

What to expect

Stepping into these songs feels like entering a Victorian parlor where restraint masks genuine emotional depth. The blue harmonies create moments of unexpected chromatic color that pull at the heartstrings, while the melodies themselves are singable and memorable. There's an intimacy here that rewards careful listening and attentive ensemble balance.

Who it's for

Euphonium quartets and mixed brass ensembles with euphonium voices will find these pieces ideal for recitals, contests, or community performances. Directors seeking accessible yet harmonically interesting material for intermediate-level players will appreciate the balance of musicality and technical straightforwardness.

How to get the most out of it

  • Balance the harmonic richness by ensuring inner voices (Euphonium 2 and 3) are heard clearly; these blue harmonies need transparency, not murkiness, to land effectively.
  • Shape phrases through gentle dynamic swells rather than dramatic contrasts; Victorian sentimentality thrives on restraint.
  • Pay attention to the specific voicing of the barbershop harmonies in Sweet and Low; slight adjustments in intonation on chromatic voice leading will refine the overall blend.
  • The tuba part anchors both pieces; lock in rhythmic security and weight with your bass line to allow the euphoniums melodic freedom above.

How to use it

Use both pieces as a consecutive pair in a concert program to create a themed moment that highlights the euphonium's lyrical capabilities. They work equally well as a standalone recital offering or as part of a broader retrospective of American and British popular song. The historical context of Winner's pen name and five-dollar copyright sale offers engaging program notes that educate audiences about 19th-century music publishing.

Skills your students will build

  • Balancing chromatic voice leading and intonation in barbershop harmony
  • Sustaining lyrical phrasing across a quartet texture
  • Blending warm, homogeneous brass sonority
  • Reading and performing period-appropriate articulation and style
  • Understanding and performing historical context of Victorian-era sentimentalism

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