I didn’t listen all the way through, but 3/4 of the way. The hymn sounds of course very familiar. I did a couple of years of organ study as my “minor” instrument, and have had various church gigs. I find many of these old hymns quite beautiful, even apart from their religious contexts.
When the critic complained about the harmonization, it was about not following certain rules of voice-leading: how the four lines of music should move relative to each other and to the overall harmony. When I was an undergrad, we had to study Bach’s hymn harmonizations. They were in a book called 371 Chorales. This was where we learned what the rules were, such as avoiding parallel fourths and fifths, and how to resolve a 7th chord. And we had to do our own harmonizations as coursework.
It was the “violations” of these rules in Abide With Me that the critic objected to. Of course, these days the hymn sounds completely fine and conventional to our ears.
I’m surprised he didn’t bring up the tuning of that old organ. It sure doesn’t sound like equal temperament to me! I thought he might have discussed that. More interesting to me than the hymn itself.
We also had to study 16th century counterpoint, and it was far more restrictive than what Bach was doing! This was the era of Palestrina and Victoria.
Strange that this young man dissed medieval music. Nothing wrong with it, and interesting in its own right.