Eucharistic Saints

Saint Peter Julian Eymard (1811-1868)

by Gary Penkala

As we continue with the National Eucharistic Revival, it would be profitable to recall those saints who had a special devotion to the Blessed Eucharist. Over the next few articles we'll study these saints, their lives, their devotion to the Blessed Eucharist, and music connected to them.

Life

The situation surrounding Peter Julian Eymard's early life was one of turmoil after the French Revolution, the velocity of the Industrial Revolution, and the persistent anti-clerical attitude of French society. After several unsuccessful paths to priesthood, he was finally ordained for the Diocese of Grenoble.

He later entered the Marists and fostered great devotion to the Blessed Mother. In 1856 he left this order to found the Congregation of the Blessed Sacrament in Paris. Two years later, the Servants of the Blessed Sacrament, a contemplative order for women, was established by Eymard and Marguerite Guillot.

Eymard encountered opposition to his Eucharistic apostolate, even among priests. He was a friend of Saint John Vianney, who wrote of him:

He is a saint. The world hinders his work, but not knowingly, and it will do great things for the glory of God. Eucharistic adoration by priests! How wonderful! Tell the good Father Eymard I will pray for his work every day.

Devotion to the Eucharist

Peter Julian's emphasis was on the real, corporeal and physical presence of the living Christ in the Blessed Sacrament. He preached Eucharistic zeal, particularly the devotion of Forty Hours.

According to Fr. John Hardon, SJ:

Peter Julian Eymard is teaching us that Jesus Christ is to be imitated twice over: once as the God-man who lived a mortal life in Palestine and once again as the same Incarnate God who is now living His glorified life in the Blessed Sacrament. Both levels of imitation are part of our faith. It takes a spiritual genius like Eymard to remind us that Christ is to be followed and His virtues imitated here and now as they are lived by Him in the Holy Eucharist.

Related Music

1. O Bread of Life (Robert Benson) —
   In this beautiful setting, the text from the Maintzisch Gesangbuch (1661) begins:

   O Bread of Life from heaven, O food to pilgrims given, O manna from on high!
   We hunger, Lord, supply us, nor thy delights deny us, whose hearts to thee draw nigh.

   The music calls on Psalm VI from the Genevan Psalter (1564) of Louis Bourgeois. An easy and effective organ accompaniment provides a flowing, eighth note underlay and interludes for the three verses.

   The first section is homophonic, with some a cappella measures. After an organ interlude, the second verse is purely polyphonic, making some use of two-part texture. After a similar interlude, verse three begins in unison, and after a crescendo at the mid-point, closes with a solid SATB passage, with divisi for sopranos and basses on the last few notes.

   The organ introduction repeats as the coda, but now resolving from e minor to E Major with a Picardy third.

2. Tantum Ergo: A Processional for Holy Thursday (arr. Gary Penkala) —
   This eucharistic processional, ideally suited for Holy Thursday liturgies, combines the familiar Tantum ergo melody Saint Thomas with a Gregorian tone setting of Psalm 145.

   The refrain for this piece consists of the first phrase of the common melody and can be sung by congregation with the choir providing an original, preferably a cappella, SATB harmony.

   Verses in English, taken from the poetic New American Standard Bible translation, should be sung alternately by men and women. A concluding doxology precedes the full statement of the Saint Thomas melody by the congregation, which closes the processional.

   This work is a simple and powerful way to link a well-known hymn with the subtle art of chanting.

3. Two Communion Antiphons (Gregory Fincham) —
   As more and more parishes are inaugurating some use of Propers in their Sunday Masses, choir directors search for good and usable settings. Here you've found some.

   Gregory Fincham has set two Communion Antiphons for SAB choir. The three-part mixed format is practical, combining the men's voices in the choir. Each of the antiphons could be sung at the beginning of Communion, followed by a hymn, a Communion psalm, an organ piece, another choral motet, or even silence. While the music is not overly difficult, it does explore counterpoint in an effective and appropriate way. Points of imitation, reminiscent of mid-Renaissance motets, offer a flavor of antiquity to these modern works.

   O Lord, remember the words you spoke to me is the Communion Antiphon for the 26th Sunday in Ordinary Time. With great range of dynamics, this motet effectively conveys the emotions of Psalm 119:49-50, offering the hope and consolation of the Lord. Most appropriate on the 26th Sunday in Ordinary Time, this six-page motet could also be sung other times, perhaps even at a funeral.

   I tell you solemnly, whatever you ask for in prayer (Mark 11:23-24) is the Communion Antiphon for the 9th Sunday in Ordinary Time. Again the subtle counterpoint heightens the "classical" flavor of this motet. The text moves from "I tell you solemnly," in the key of e minor, to "it will be yours, says the Lord" in E Major.

   The vocal ranges are quite comfortable, which adds to the practicality of these antiphons. Delve into the Propers, expressing the Church's own notion of what our "Communion Hymn" should be.

Article written 19 August 2023