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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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President’s Corner

    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski
    Jeff’s Mother Joins Our Fundraiser
    To assist our fundraiser, Mrs. Kathleen Ostrowski has drawn several beautiful sketches which she offers to all our readers free of charge. If you have a moment, I invite you download them at this link.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“I vividly remember going to church with him in Bournemouth. He was a devout Roman Catholic and it was soon after the Church had changed the liturgy (from Latin to English). My grandfather obviously didn’t agree with this and made all the responses very loudly in Latin while the rest of the congregation answered in English. I found the whole experience quite excruciating, but my grandfather was oblivious. He simply had to do what he believed to be right.”

— Simon Tolkien (2003)

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