Hymns tell the stories of our faith.
Stories of faithfulness, prayers for peace, and songs of abiding love. Stories about Jesus’ birth, life, death, and resurrection. Prophecies, promises, and words of hope and assurance.
As the great St. Augustine once wrote, "To sing is to pray twice."
When we sing these stories of our faith, we internalize them. We remember them.
But sometimes, singing the same words with the same tune year after year can desensitize us to the importance of the words we’re singing. Have you ever experienced that?
In this post, I’m sharing 30 choral anthems with new musical settings of old, historic hymn texts.
I’ll share a little about the musical setting and how it’s crafted, but I’ll also provide a little insight into the hymn text authors and the context in which they were writing.
I hope you find a new anthem or two for your choir to enjoy next year!
30 Original Choral Settings of Old Hymn Texts
*Disclosure: I get commissions for purchases made through links in this post.
Lent
I Surrender All to You (arr. Mary McDonald)
SATB with piano
Set to the traditional Irish tune, SALLEY GARDENS, this anthem uses John E. Bode’s text, “O Jesus, I Have Promised,” bringing a whole new perspective to this beautiful prayer.
The text was published as a “Hymn for the newly confirmed” in 1868, two years after Bode’s daughter and two sons were confirmed. It’s based on a passage from John 12, following Jesus’ triumphal entry into Jerusalem. Jesus said to his disciples:
“The hour is come, that the Son of man should be glorified. Verily, verily, I say unto you, except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit. He that loveth his life shall lose it; and he that hateth his life in this world shall keep it unto life eternal. If any man serve me, let him follow me; and where I am, there shall also my servant be: if any man serve me, him will my Father honor” (John 12:23-26, KJV).
Learn more about the history of this hymn.
O Love (Elaine Hagenberg)
SATB with piano
A lovely, deeply moving setting of George Matheson’s “O Love That Wilt Not Let Me Go,” beautifully set by Elaine Hagenberg.
19th-century writer George Matheson wrote this text on June 6, 1882. It was published a few months later in the Church of Scotland monthly magazine, Life and Work, and in the Scottish Hymnal (1885). C. Michael Hawn notes, “Each of the four stanzas begins with a keyword—Love, Light, Joy, and Cross—that are not only attributes of his relationship with Christ, but also names given to Christ.”
Learn more about the history of this hymn.
And Can it Be? (Dan Forrest)
SATB Choir with Piano
This anthem begins quietly and gradually builds to a full chorus—"Amazing love, how can it be?"—before drawing to a reflective close.
This text was written by Charles Wesley, days after his conversion experience on Pentecost Sunday 1738. It was published the following year in his older brother, John’s Hymns and Sacred Poems.
Learn more about the history of this hymn.
Take My Life, Lord (Anna Laura Page)
SAB Choir with Piano + Opt. Flute
The familiar, prayerful text by Frances Havergal is well-suited for Lent or Holy Week worship, but this anthem could also be sung during Ordinary Time.
Frances Havergal was a 19th-century poet, singer, and pianist. She wrote this text in 1874, five years before her death at the age of 43. It was published two years later in Charles Snepp's Songs of Grace and Glory under the name "2 Sam. 19:30. 'Yes, let Him take all.' (source)
Learn more about the history of this hymn.
My Song Is Love Unknown (arr. Molly Ijames)
SATB Choir with Piano
Long, lyrical phrases support the original text by Samuel Crossman. The anthem begins with SA voices, followed by TB voices on the 2nd verse. A climactic 3rd verse begins boldly with unison voices.
Samuel Crossman was a 17th-century Anglican minister. This Lenten poem was first published in 1664, just before his ordination, in The Young Man’s Meditation, a short book of poems (source). The text was published in the Anglican Hymn Book in 1686, just two years after Crossman’s death.
Learn more about the history of this hymn.
Immortal Love, Forever Full (Dan Kreider)
SATB Choir with Piano
This anthem features beautiful harmonies, a delicate melody, and powerful, poetic text written by John Greenleaf Whittier.
Whittier was a 19th-century American Quaker journalist, editor, and poet. In the Dictionary of Hymnology (1907), John Julian writes:
“This poem, entitled ‘Our Master,’ appeared in Whittier's work, The Panorama, and other Poems, 1856, in 35 stanzas of 4 lines; in Schaff’s Christ in Song, 1869-70, p. 117; and in the Complete Poetical Works, 1876, p. 231, and others.” (source)
Several hymn texts stem from this original text. “Immortal Love, Forever Full” was first published in the 1890 edition of Hymnal Companion.
Learn more about John Greenleaf Whittier.
To the Lamb on the Throne (Dan Forrest)
SATB Choir with Organ + opt. Brass Quintet and Timpani
With text from the familiar hymn, “Ye, Servants of God” (written by Charles Wesley) and an emphasis on the phrase, “worthy is the Lamb,” this anthem would be wonderful on Easter Sunday or any of the Sundays that follow.
This hymn text was first published in Hymns for Times of Trouble and Persecution in 1744 and opened the section, “Hymns to Be Sung in a Tumult.”
Learn more about the history of this hymn.
Wondrous Cross (Philip Wilby)
SATB Choir with Organ
Incredibly moving and reflective, Philip Wilby's poignant setting of Isaac Watts’ text would be especially fitting for a Holy Week service. The setting features accessible part-writing with several unison passages.
Isaac Watts was an Anglican priest and author of 600 hymns. This text was first published in Hymns and Spiritual Songs in 1707.
According to hymn scholar Tillay:
“[Watts] insisted that songs in the church should be fully evangelical and not just supplements to the Psalms; that hymns should be freely composed and not just hold to the letter of Scripture; and that hymns should give straightforward expression to the thoughts and feelings of the singers and not merely recall events of the distant past.” (source)
Palm Sunday & Easter
All Glory, Laud, and Honor (arr. Caleb French)
SATB Choir with Piano
A new setting of the traditional text and tune set in 6/8 meter. Listen to a recording here.
This text was written by Theodulph of Orleans (ca. 750-821) and translated from Latin to English by John Mason Neale.
Learn more about the history of this hymn.
More Love to Thee (Tom Fettke)
SATB, SAB, or 2-Part Mixed Choir with Piano
A captivating melody, flexible part-writing, and interesting accompaniment make this anthem accessible for choirs of all sizes and appropriate for Eastertide or general use.
The text of this hymn was composed by 19th-century writer, Elizabeth Payton Prentiss. Hymn scholar C. Michael Hawn writes:
“Inspired by Sarah Adams' hymn, ‘Nearer, My God, to Thee,’ Prentiss began to write her own hymn in an almost identical metrical pattern. She had been reflecting on Jacob's struggles in Genesis 28:10-22 and found Adams' hymn on this same theme to be of comfort.”
Prentiss completed the hymn in 1856 but kept it to herself. The poem appeared in leaflet form in 1869 and was published for the first time in a hymnal, Songs of Devotion for Christian Associations, in 1870.
Ordinary Time
I Sing the Mighty Power of God (Steven Strite)
SATB with Piano + opt. Brass and Percussion
An exciting, rhythmic setting of Isaac Watt’s text with a new tune and driving accompaniment. Fun!
This text was originally published in 1715 as “Praise for Creation and Providence” in Watts’ children’s hymnal, Divine Songs Attempted in Easy Language, for the Use of Children.
Learn more about the history of this hymn.
Amazing Grace (Mark A. Miller)
Unison/2-part Choir with Piano
This arrangement begins simply but soon breaks into an upbeat, rhythmic version (new melody, old text). With driving accompaniment and repetitive rhythms, this piece would be accessible for youth choirs, youth or adult ensembles, or intergenerational groups.
John Newton was a vicar in the Anglican church (and former trader of enslaved Africans). His well-known hymn text was inspired by a sermon he was preparing based on 1 Chronicles 17:16-17, the reading of the day for New Year’s Day, January 1, 1773:
“And David the king came and sat before the Lord, and said, Who am I, O Lord God, and what is mine house, that thou hast brought me hitherto? And yet this was a small thing in thine eyes, O God; for thou hast also spoken of thy servant's house for a great while to come, and hast regarded me according to the estate of a man of high degree, O Lord God” (KJV).
The hymn text was first published in Olney Hymns in 1779.
Learn more about the history of this hymn.
Prayer to Jehovah (Molly Ijames)
SATB Choir with Piano + opt. Strings
A surprising, sweeping setting of the traditional hymn text, “Guide Me, O Thou Great Jehovah” brings the words to life in a whole new way. Listen to a recording here.
The text was written in 1745 by 18th-century Methodist minister, William Williams in his native Welsh. It was published in Williams’ 1762 hymn collection, Caniadau y rhai sydd ar y Mor o Wydr (Songs of those upon the Sea of Glass). Nine years later in 1771, Peter Williams (of no relation), translated the first, third, and fifth stanzas into English.
Learn more about the history of this hymn.
Fairest Lord Jesus (Derek Hakes/revised Craig Courtney)
SAB or SATB Choir with Piano
A new tune for this familiar, prayerful text. The setting includes a beautiful a cappella verse with beautiful harmonies. It is appropriate for Transfiguration Sunday or general worship. Available for SAB choirs in the collection Small But Mighty II.
The German hymn first appeared in a Jesuit manuscript in 1662 in Münster, Westphalia (Germany). The first printed version appeared in 1677 in a Catholic hymnal, Münster Gesangbuch. There is no record of authorship for the text or tune.
Learn more about the history of this hymn.
He Leadeth Me (Benjamin Wegner)
SATB with Piano
The pairing of a familiar hymn text by Joseph Gilmore with a new musical setting creates an anthem that is both reflective and captivating.
The text is based on Psalm 23:2: “He leadeth me beside the still waters.” American minister (and later English professor at the University of Rochester) Joseph Gilmore wrote it during the Civil War when preparing to preach in Philadelphia in 1862. It was published under a pseudonym in the Boston newspaper, Watchman and Reflector later that year. Two years later in 1864, composer William Bradbury included the text anonymously with his own tune in The Golden Censer. It’s said that he added the third phrase, “His faithful follower I will be.”
Gilmore was unaware of this. After the poem appeared in the Boston newspaper, he wrote:
“Three years later I went to Rochester, New York, to preach as a candidate before the Second Baptist Church. Upon entering the chapel, I took up a hymnbook, thinking, ‘I wonder what they sing.’ The book opened up at “’He Leadeth Me,’ and that was the first time I knew that my hymn had found a place among the songs of the church.” (source)
Learn more about the history of this hymn.
Day By Day (Victor Johnson)
SATB with Piano
A captivating new melody for this traditional, prayerful text with a flowing, but supportive piano part. Short and sweet (under two minutes), this would be a beautiful piece for a small mixed ensemble to do as a Call to Prayer.
This text is attributed to Richard of Chichester (1197-1253), a chancellor, priest, and later bishop. He is thought to have recited the prayer on his deathbed. It was transcribed in Latin and later published in various iterations (the “day by day” phrase is thought to have been added much later, first published in 1931 - source). The prayer was used in the song, “Day by Day” in the 1971 musical, Godspell by Stephen Schwartz.
Learn more about the history of this hymn.
O For a Thousand Tongues to Sing (Mark Hayes)
SATB Choir with Piano + opt. Small Ensemble or Orchestra
An energetic, syncopated setting of this traditional hymn text with a new melody set in Dorian mode and lilting 12/8 meter. Listen to a recording here.
Charles Wesley wrote this hymn text in 1739 to commemorate his conversion on May 21, 1738. It was first published a year later in the Wesleys’ hymnal, Hymns and Sacred Poems of 1740 under the title, For the Anniversary Day of One's Conversion. The original hymn had 18 stanzas; 17 were published in the United Methodist Hymnal (1989).
Learn more about the history of this hymn.
Great Is Thy Faithfulness (arr. Mark Patterson)
Unison/2-Part or SSA Choir with Piano + opt. Flute or C Instrument
A fresh setting of this well-known hymn, featuring light syncopation, warm harmonies, a lyrical piano accompaniment, and a descant on the last verse. Use both the Unison/2-Part and SSA versions for a combined choir featuring children's and women’s voices.
Be Thou My Vision (Mark A. Miller)
SATB Choir with Piano
A gentle, descending melodic line, lightly syncopated, flows over an arpeggiated piano accompaniment. This anthem begins with a treble solo.
For the Beauty of the Earth (John Rutter)
SATB Choir with Piano + opt. Orchestration
A delicate, dance-like accompaniment sets the tone for this well-known setting of the traditional hymn. Also available in 2-part (SA) and TTBB voicing. Orchestration is available separately.
All Saints’ Sunday
And Are We Yet Alive? (Mark A. Miller)
SATB Choir with Piano + opt. Orchestra
A syncopated, energetic setting of Charles Wesley's text.
Charles wrote this hymn text for his 1749 collection, Hymns and Sacred Poems. His brother, John included it in A Collection of Hymns for the Use of the People Called Methodist (1780). Around this time, Wesley began using this as the opening hymn at annual society meetings, a practice that continues to this day.
Geoffrey Moore notes the text’s connection to the lectionary for All Saint’s Sunday (Year A), though he recommends pairing it with the tune ST. MICHAEL or ST. THOMAS.
Learn more about the history of this hymn.
An Hour of Hallowed Peace (Steve Danyew)
SATB Choir with Piano
Tender and hopeful, this new setting of an old hymn text reflects the freedom and joy of heaven's celestial shore.
The text was written by 19th-century clockmaker, superintendent, pastor, and poet, William B. Tappan. This text was published in his 1819 collection, New England and Other Poems.
Learn more about this hymn writer.
Dona Nobis Pacem (Mark A. Miller)
SATB Choir, divisi, a cappella
A chorale-style setting of this plaintive Latin text, this anthem begins simply with a soprano soloist and builds into full divisi.
Thanksgiving
For All His Blessings (Steve Danyew)
SATB Choir with Piano
A new setting of an old hymn text with the Doxology woven throughout. This works well any time of the year but is especially fitting for Thanksgiving and stewardship services.
Not much is known about the text author, D.W. Griffin, but we know that this text was first published in 1910 in the hymn collection, Psalms, Hymns, and Songs Spiritual. It has been called a “New Doxology” because of the last line of the first stanza.
Advent
Come, Thou Long-Expected Jesus (Mark A. Miller)
SAB Choir with Piano
I love this setting of the familiar Advent text. Great for youth or adult choirs (or a combined group!), as it's written for SAB.
Charles Wesley wrote this Advent text for the 1744 publication of the Wesley hymnal, Hymns for the Nativity of Our Lord. It was later published in the 1847 Methodist Hymnal.
Christmas
Silent Night (Peter Anglea)
SATB Choir with Piano
If you're one of those people who's over "Silent Night" by the time we get to Christmas, this arrangement is for you: original text, but with a new tune and new accompaniment. Win-win.
The six-stanza German text was written by Joseph Mohr, a Catholic priest, in 1816. As the story goes, cantor, teacher, and composer Franz Xaver Gruber was asked to write a tune for the text on short notice for the Christmas Eve service in 1818. The hymn was accompanied by guitar.
Carl Daw notes the first performance was by “two solo singers and choir, with guitar accompaniment. . . . At the Christmas Eve Mass, Mohr sang the tenor part and played the guitar, Gruber sang the bass part, and the local choir sang a refrain consisting of a repeat of the last four measures.” (source)
Episcopal minister John Freeman Young translated the text into English (with some alterations) in 1859. This is the version that appears in most hymnals today.
Learn more about the history of this hymn.
Love Came Down at Christmas (Allen Pote)
SAB Choir with Piano
One of my favorite Christmas texts, written by Christina Rossetti, thoughtfully set with a new melody by Allen Pote for SAB Choir.
19th-century poet Christina Rossetti came from an artistic family. She wrote three collections of poetry and four devotional books. Her poem, “Love Came Down at Christmas” first appeared in her Time Flies: a Reading Diary (1885), based on 1 John 4:7-11.
Hymn scholar C. Michael Hawn notes, “Though Rossetti’s poems were not composed as hymns for congregational use, this one first appeared in the Oxford Hymn Book (1908) as a hymn.”
Learn more about the history of this hymn.
Christ Is Born (Mark A. Miller)
SAB Choir with Piano
Minor harmonies and an original, repeating Alleluia chorus pair with Christina Rossetti's familiar poem. SAB part-writing with unison passages make this anthem accessible for youth choirs or small adult choirs.
Another setting of Christina Rossetti’s “Love Came Down at Christmas” (see notes above).
Learn more about the history of this hymn.
While Shepherds Watched Their Flocks (Craig Courtney)
SATB Choir (divisi) with piano
Rich choral writing, including a few brilliant cluster chords, and striking, but very lyrical piano accompaniment. A new musical setting of the traditional text.
The text of this carol was written by 17th-century Irish poet, Nahum Tate. At this time in church music history, the practice was to sing metrical psalms: “hymns that paraphrased a psalm directly from Scripture and placed it in a poetic form with rhyme and a specific meter” (source). Tate’s text is unique because it is a metrical setting of another passage of Scripture (Luke 2:8-14), outside the book of Psalms.
Learn more about the history of this hymn.
It Came Upon the Midnight Clear (Neil Harmon)
SATB divisi, a cappella
An original melody gives new life and depth to this familiar carol text centered on peace. Momentary divisi in men’s and women’s parts. A lovely choice for an intermediate adult choir or small ensemble. Listen to a recording here.
Edmund Hamilton Sears was a graduate of the Harvard Divinity School and a Unitarian minister. He wrote this poem in the midst of social strife and unrest in the years preceding the Civil War. The text first appeared in the Boston Christian Register on Dec. 29, 1849.
I’d love to hear from you:
Do you know of other anthems that feature old hymn texts set to new tunes? Leave your favorites below!
