Composers who arrange Hymns often put their own spin on their arrangements. Many of those composers are known for their very distinctive styles. They have their own brand so to speak, most often in modern contemporary style. That being said, you can easily recognize a "[insert name of composer]" arrangement.
Then there are other composers who like to challenge themselves to expand their range. They may take influences from composers from past esteemed Musical Style Periods such as Baroque, Classical, Romantic, etc. for any number of specific projects. Those style characteristics may not come off exactly accurate to the period, but the fusion of old and new can be very effective.
In any case, something old gets a new life.
Then there are other composers who like to challenge themselves to expand their range. They may take influences from composers from past esteemed Musical Style Periods such as Baroque, Classical, Romantic, etc. for any number of specific projects. Those style characteristics may not come off exactly accurate to the period, but the fusion of old and new can be very effective.
In any case, something old gets a new life.
 Johann S. Bach 1685-1750 |  Joseph Haydn 1732-1809 |  W.A. Mozart 1756-1791 |  L. van Beethoven 1770-1827 |
I was reminded of a few old hymns I tried my hand at arranging. No doubt I was trying to remember what I had learned in my Music History classes. (I confess I know just enough to be dangerous.) My studies of singing the great Masters such as Bach, Haydn, Mozart, and Beethoven may not qualify me to be an expert by any means. But, I learned that I really love these styles.
"Come We That Love the Lord" hymn text was written by Isaac Watts in 1707. And even though it was not paired with the current hymn tune "St. Thomas" until 1763 by Aaron Williams, I think it still fits best in the Baroque period (1685-1750). My arrangement was written for my Youth Chorus of 50 singers. At the time I had an accomplished organist for an accompanist.
(I can remember this just by looking at the structure of the arrangement. It is mostly unison with some SATB because that's all I could expect from the singers. It has a more interesting accompaniment, because I had a talented organist. That's how I remember most of my arrangements. I had to write for the resources I had.)
"All Glory, Laud and Honour" is an English translation by the Anglican clergyman John Mason Neale of the Latin hymn "Gloria, laus et honor" which was written by Theodulf of Orléans in 820. It is a Palm Sunday hymn, based on Matthew 21:1–11 and the occasion of Christ's triumphal entry into Jerusalem. My arrangement was heavily influenced by the Classical (1750-1820) composers and even gives a nod to part of Mozart's "Requiem" which I had been singing at the time. (I know. I must have no scruples. I couldn't help myself. The "Hosannas" are just so fun to sing!)
"How Wondrous and Great" is a hymn with text by Henry U. Onderdonk (1789–1858) and music attributed to Joseph Martin Kraus (1756–1792). The music had also once been attributed to Johann Michael Hadyn (younger brother of the more famous Franz Joseph Hadyn who was a major influencer in the Classical Period). In any case, these composers were of the late Classical Period (circa 1800) moving into the Romantic Period (1830-1900). Composers of this transition time were breaking from strict structures and promoting more movement and emotion. So that's what I took for inspiration in my arrangement. (I must have had a very good pianist at the time!)
"Come We That Love the Lord" hymn text was written by Isaac Watts in 1707. And even though it was not paired with the current hymn tune "St. Thomas" until 1763 by Aaron Williams, I think it still fits best in the Baroque period (1685-1750). My arrangement was written for my Youth Chorus of 50 singers. At the time I had an accomplished organist for an accompanist.
(I can remember this just by looking at the structure of the arrangement. It is mostly unison with some SATB because that's all I could expect from the singers. It has a more interesting accompaniment, because I had a talented organist. That's how I remember most of my arrangements. I had to write for the resources I had.)
"All Glory, Laud and Honour" is an English translation by the Anglican clergyman John Mason Neale of the Latin hymn "Gloria, laus et honor" which was written by Theodulf of Orléans in 820. It is a Palm Sunday hymn, based on Matthew 21:1–11 and the occasion of Christ's triumphal entry into Jerusalem. My arrangement was heavily influenced by the Classical (1750-1820) composers and even gives a nod to part of Mozart's "Requiem" which I had been singing at the time. (I know. I must have no scruples. I couldn't help myself. The "Hosannas" are just so fun to sing!)
"How Wondrous and Great" is a hymn with text by Henry U. Onderdonk (1789–1858) and music attributed to Joseph Martin Kraus (1756–1792). The music had also once been attributed to Johann Michael Hadyn (younger brother of the more famous Franz Joseph Hadyn who was a major influencer in the Classical Period). In any case, these composers were of the late Classical Period (circa 1800) moving into the Romantic Period (1830-1900). Composers of this transition time were breaking from strict structures and promoting more movement and emotion. So that's what I took for inspiration in my arrangement. (I must have had a very good pianist at the time!)
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