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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

Review • Bread from Heaven

Andrew Leung · July 23, 2015

CTL Bread from Heaven 2 NEW BOOK IS OUT! A collection of English Eucharistic motets called, Bread from Heaven, was published recently. The music was adapted and engraved by Heath Morber, Director of Music at St. John’s Catholic Chapel in Champaign, IL. Ben Yanke, who writes on Chant Café and NLM, helped with the publishing. This book is available on Lulu. A preview of the book is also available here.

Now let me actually get onto the book.

Eucharistic Text — There are 9 common Eucharistic texts set to 14 motets in this collection. The original Latin texts are from the Ad libitum communion antiphons found on p.391 of the Graduale Romanum. And of course, the texts are all scriptural and theologically correct. These texts are basically suitable for any season and can be sung during communion on any day.

These motets are generally pretty short, usually about 2 pages and no more than 30 measures. A Psalm verse is printed at the end of each motet, so there is an option for singing the motet twice with the psalm verse in the middle. The psalm tones are written and arranged by Aristotle Esguerra. Having the option of adding the psalm verse makes the time-controlling easier. It also gives people a chance to sneak in the communion antiphon of the day if the choir or schola isn’t used to singing it. So, instead of singing what the texts of the psalm verse, one can sing the antiphon of the day to the psalm tone given.

English Motets — The Eucharistic texts were translated into English and set to the original polyphony. The translation are very accurate and most of them are from the Roman Missal directly. Some of the texts have been modified by Heath to fit into the music. The pitches of the music itself have been retained, but rhythms have been re-worked for the English texts. I sang through a couple pieces myself and I found them pretty smooth. Although, I would say that English diction is harder than Latin in general and that can be a little tricky.

Some people may say that the “English” part is not ideal for the Traditional Latin Mass. However, I think it is perfect for the “average Novus Ordo parishes”, which is probably most of Catholic churches in the country. The acceptance of the Latin language is growing, but still not everybody likes to hear it. I don’t think that should be an excuse not to sing in Latin, but having the option of good English motets can avoid some fights.

Choir-friendly — Regarding the level of difficulties of these pieces, I would say they are from easy to medium. As I said before, they are pretty short which makes them easier to learn. The music of the motets are taken out of larger works (like the Mass Ordinary) of Orlando di Lasso, Giovanni Pierluigi da Palestrina and Josquin des Pres. The collection also include 49 different voicings for the 14 motets which makes them extremely flexible. And once you purchase the book, a free PDF is available for download.

All of these pieces are in two-parts or three-parts and they are great for smaller choirs or developing choirs. I just sang one of the motets this weekend with a friend of mine at the Catholic center on a college campus. A lot of times, directors with small amateur choirs have hard times finding and picking quality music. Here is the perfect collection for that kind of situation.

Here is a recording of my friends singing a piece from the book:

The Bread that I Will Give
3-voice setting based on the De posuit potentes from Magnificat quarti toni by Palestrina


Soprano: Bridget Scott
Alto I: Beth Nowokunski
Alto II: Angela Russo

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Andrew Leung

Andrew Leung currently serves the music director of Vox Antiqua, conductor of the Cecilian Singers, and music director at Our Lady of China Church.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “21 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“The council did not say Latin should be abolished. It said Latin should be used. […] While at Ecclesia Dei, I once received a letter from a chancery office in the United States, asking me if I didn’t know that the council had abolished Latin!”

— Cardinal Mayer, Prefect (1985–1988) of the Vatican’s Congregation for Divine Worship

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