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Tune Identifier:"^euphemia_unseld$"

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EUPHEMIA

Meter: 8.6.8.6 D Appears in 7 hymnals Composer and/or Arranger: Benjamin C. Unseld Tune Key: G Major or modal Incipit: 32156 655 Used With Text: When All Your Mercies, O My God

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The Goodness of God Proved

Meter: 8.6.8.6 Appears in 11 hymnals First Line: The Lord I will at all times bless Lyrics: 1 The Lord I will at all times bless, In praise my mouth employ; My soul shall in Jehovah boast, The meek shall hear with joy. O magnify the Lord with me, Let us exult His Name; When in distress on Him I called, He to my rescue came. 2 We looked to Him and light received, Ashamed we shall not be; Our humble cry Jehovah heard, From trouble set us free. The angel of the Lord encamps Around about His own, Delivers them from all their foes, Lest they be overthrown. 3 O taste and see that God is good To all that seek His face; Yea, blest the man that trust in Him, Confiding in His grace. O fear the Lord, all ye His saints; No want shall bring distress; The lions young may pine for food, The saints all good possess. Topics: Afflictions Deliverance from; Afflictions Promises for; Angels; Assurance Declared; Blessedness Of Those Fearing God; Cares; Christ Abiding with Believers; Christ Glorying in; Christ Grace and Love of; Christians Believers; Christians Blessedness of; Christians Conscious of Safety; Deliverance from trouble; Faith Blessedness of; Godly Fear Blessedness of; Godly Fear Exhortation to; Glory of God In Providence; God Our Guardian; God Hearer of Prayer; God Love and Mercy; God Source of All Good; Gospel Fulness of ; Gospel Gracious Fruit of; Gospel Privileges of; Grace Justifying; Praise For God's Mercy; Praise For Spiritual Blessings; Praise for temporal blessings; Prayer Answers to; Prayer confidence in; Prayer Promise to; Preservation; Protection Only from God; The Christian's Reward; The Righteous Deliverances of; The Righteous Honor and Safety of; Safety Assured; Salvation God's Gift; Seeking God; Sin Salvation from; Thanksgiving Declared; Trust in God Blessedness of Scripture: Psalm 34 Used With Tune: EUPHEMIA
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I Will at All Times Bless the LORD

Meter: 8.6.8.6 D Appears in 1 hymnal Topics: Affiliction; Angels; God Goodness of; Praise; Protection; Suffering and Deliverance Scripture: Psalm 34 Used With Tune: EUPHEMIA Text Sources: OPC/URCNA 2016
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The Great Teacher

Appears in 22 hymnals First Line: Teach me, O Lord, the perfect way Topics: Aspirations For Grace; Bible Spirit's Aid in Study; Christ Light and Guide; Christ Ministry of; Christ Prophetic Office of; Christian Activity; Consecration and Dedication; Covetousness; Darkness, Spiritual; Godly Fear Described; God Our Teacher; Gospel Fullness of; Obedience; Perseverance; Prayer For Grace and Salvation; Prayer Sincerity in; Revival; Vanity To be Avoided Scripture: Psalm 119:25-30 Used With Tune: [Teach me, O Lord, the perfect way ]

Instances

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Published text-tune combinations (hymns) from specific hymnals
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I Will at All Times Bless the LORD

Hymnal: Trinity Psalter Hymnal #34A (2018) Meter: 8.6.8.6 D Topics: Affiliction; Angels; God Goodness of; Praise; Protection; Suffering and Deliverance Scripture: Psalm 34 Languages: English Tune Title: EUPHEMIA

Psalm 40

Author: Julie Tennent; Timothy Tennent Hymnal: Hymns and Devotions for Daily Worship #51 (2024) Meter: 8.6.8.6 D First Line: How many are your wonders, Lord Topics: Epiphany Scripture: Psalm 40:5-10 Languages: English Tune Title: EUPHEMIA

The Lord I will at All Times Bless

Hymnal: Psalter Hymnal (Blue) #58 (1976) Meter: 8.6.8.6 D Topics: Deliverance From Enemies; Deliverance From Trouble; Hearer Of Prayer, God The; Praise To God, Jesus Christ; Protection, Divine; Bread, Daily; Goodness of God Scripture: Psalm 34 Languages: English Tune Title: EUPHEMIA

People

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Authors, composers, editors, etc.

Joseph Addison

1672 - 1719 Author of "When All Your Mercies, O My God" in Hymns and Devotions for Daily Worship Addison, Joseph, born at Milston, near Amesbury, Wiltshire, May 1, 1672, was the son of the Rev. Lancelot Addison, sometime Dean of Lichfield, and author of Devotional Poems, &c, 1699. Addison was educated at the Charterhouse, and at Magdalen College, Oxford, graduating B.A. 1691 and M.A. 1693. Although intended for the Church, he gave himself to the study of law and politics, and soon attained, through powerful influence, to some important posts. He was successively a Commissioner of Appeals, an Under Secretary of State, Secretary to the Lord Lieutenant of Ireland, and Chief Secretary for Ireland. He married, in 1716, the Dowager Countess of Warwick, and died at Holland House, Kensington, June 17, 1719. Addison is most widely known through his contributions to The Spectator, The Toiler, The Guardian, and The Freeholder. To the first of these he contributed his hymns. His Cato, a tragedy, is well known and highly esteemed. Addison's claims to the authorship of the hymns usually ascribed to him, or to certain of them, have been called in question on two occasions. The first was the publication, by Captain Thompson, of certain of those hymns in his edition of the Works of Andrew Marvell, 1776, as the undoubted compositions of Marvell; and the second, a claim in the Athenaeum, July 10th, 1880, on behalf of the Rev. Richard Richmond. Fully to elucidate the subject it will be necessary, therefore, to give a chronological history of the hymns as they appeared in the Spectator from time to time. i. The History of the Hymns in The Spectator. This, as furnished in successive numbers of the Spectator is :— 1. The first of these hymns appeared in the Spectator of Saturday, July 26, 1712, No. 441, in 4 stanzas of 6 lines. The article in which it appeared was on Divine Providence, signed “C." The hymn itself, "The Lord my pasture shall prepare," was introduced with these words:— "David has very beautifully represented this steady reliance on God Almighty in his twenty-third psalm, which is a kind of pastoral hymn, and filled with those allusions which are usual in that kind of writing As the poetry is very exquisite, I shall present my readers with the following translation of it." (Orig. Broadsheet, Brit. Mus.) 2. The second hymn appeared in the Spectator on Saturday, Aug. 9, 1712, No. 453, in 13 st. of 4 1., and forms the conclusion of an essay on " Gratitude." It is also signed " C," and is thus introduced:— “I have already obliged the public with some pieces of divine poetry which have fallen into my hands, and as they have met with the reception which they deserve, I shall, from time to time, communicate any work of the same nature which has not appeared in print, and may be acceptable to my readers." (Orig. Broadsheet, British Museum) Then follows the hymn:—"When all Thy mercies, 0 my God." 3. The number of the Spectator for Tuesday, Aug. 19, 1712, No. 461, is composed of three parts. The first is an introductory paragraph by Addison, the second, an unsigned letter from Isaac Watts, together with a rendering by him of Ps. 114th; and the third, a letter from Steele. It is with the first two we have to deal. The opening paragraph by Addison is:— “For want of time to substitute something else in the Boom of them, I am at present obliged to publish Compliments above my Desert in the following Letters. It is no small Satisfaction, to have given Occasion to ingenious Men to employ their Thoughts upon sacred Subjects from the Approbation of such Pieces of Poetry as they have seen in my Saturday's papers. I shall never publish Verse on that Day but what is written by the same Hand; yet shall I not accompany those Writings with Eulogiums, but leave them to speak for themselves." (Orig. Broadsheet, British Museum

B. C. Unseld

1843 - 1923 Person Name: Benjamin C. Unseld Composer of "EUPHEMIA" in Hymns and Devotions for Daily Worship Benjamin Carl Unseld, 1843-1923 Born: Oc­to­ber 18, 1843, Shep­herd­stown, West Vir­gin­ia. Died: No­vem­ber 19, 1923. Buried: Elm­wood Ceme­te­ry, Shep­herd­stown, West Vir­gin­ia. After leav­ing school at age 14, Un­seld worked as a clerk in a coun­try store. He re­ceived his first mu­sic­al in­struct­ion around age 15, from a com­pan­ion who had at­tend­ed a sing­ing school. He was shown the rep­re­sen­ta­tion of the scale in the old Car­mi­na Sac­ra, and had it sung for him. At the friend’s sug­gest­ion, he got per­mis­sion from his pas­tor to prac­tice on the church or­gan. Since both boys worked, their on­ly chance to prac­tice was af­ter the store closed at 9:00 p.m., and oc­casion­al­ly at noon­time. They went to the church to­ge­ther and took turns, one at the key­board and the other at the bel­lows. Shortly af­ter the Bat­tle of An­tie­tam in Sep­tem­ber 1862, some of which Un­seld wit­nessed, he left home and be­came a book­keep­er in the gen­er­al of­fic­es of a rail­road in Co­lum­bia, Penn­syl­van­ia. He sang in a choir, and gained fur­ther prac­tice read­ing mu­sic. He rent­ed a mel­o­de­on and spent much time in his room im­pro­vis­ing on it. He bought a co­py of Wood­bur­y’s Har­mo­ny and Mu­sic­al Com­po­si­tion, and stu­died it as well as he could with­out a teach­er. He ac­cept­ed an in­vi­ta­tion to play the or­gan in the lo­cal Meth­od­ist church, on the con­di­tion that he re­ceived the tunes ear­ly in the week so he could learn them. This was his first po­si­tion as an or­ga­nist. In the spring of 1866, he en­tered the Mu­sic­al In­sti­tute in Pro­vi­dence, Rhode Is­land, con­duct­ed by Eben Tour­jée (found­er of the New Eng­land Con­serv­a­to­ry in Bos­ton, Mass­a­chu­setts, and fa­ther of Liz­zie Tour­jée). There he stu­died voice, pi­a­no, or­gan, and har­mo­ny. Af­ter learn­ing of Un­seld’s bus­i­ness ex­per­i­ence, Dr. Tour­jée made him sec­re­ta­ry of the school; in 1867, Un­seld be­came the first sec­re­ta­ry of the New Eng­land Con­ser­va­to­ry. Starting in 1870, Un­seld at­tend­ed schools led by The­o­dore F. Sew­ard. There he met George Webb, Low­ell Mason, James Mc­Gran­a­han, Charles Case, and other not­a­bles in the mu­sic com­mun­i­ty. In 1874, Uns­eld taught at Fisk Un­i­ver­si­ty in Nash­ville, Ten­nes­see, and helped train Fisk’s Ju­bi­lee Sing­ers for their Eur­o­pe­an trip. In 1877 and 1878, he was or­gan­ist and choir mas­ter at St. James’ Epis­co­pal Church, Lan­cas­ter, Penn­syl­van­ia. In 1879, Un­seld moved to New York Ci­ty, and for 15 years taught, led choirs, com­posed and pub­lished. In New York, his mu­sic­al head­quar­ters was the pub­lish­ing house of Big­low & Main Com­pa­ny, where he was in al­most dai­ly con­tact with the pop­u­lar com­pos­ers and teach­ers of the day: Ira San­key, Ho­ra­tio Palm­er, Hu­bert Main, Ro­bert Low­ry, et al. In 1894, Un­seld moved to Cin­cin­na­ti, Ohio, and worked as an ed­it­or for the Fill­more Mu­sic House. In 1898, he moved to Day­ton, Ohio, and worked in a sim­i­lar ca­pa­ci­ty for the Lo­renz Pub­lishing Com­pa­ny. He moved back to New York Ci­ty in 1901, then to Ha­gers­town, Ma­ry­land in 1905. He and his wife Sal­lie were ap­par­ent­ly liv­ing in Ten­nes­see as of 1920. Un­seld’s works in­clude: The Chor­al Stan­dard (New York: Fill­more Bro­thers, 1895) Progress in Song, with E. T. Hil­de­brand (Cin­cin­na­ti, Ohio: The Fill­more Bro­thers Com­pa­ny) Unseld was in­duct­ed in­to the South­ern Gos­pel Mu­sic As­so­ci­a­tion Hall of Fame in 2004. Sources-- Hall, pp. 239-44 Music-- Ancyra Euphemia He Is Ris­en Hordville Make Haste! Meschach Twilight Is Fall­ing Unseld Wonderful Mess­age --www.hymntime.com/tch

Julie Tennent

Paraphraser of "Psalm 40" in Hymns and Devotions for Daily Worship
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