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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

In Memoriam • Dr. William Mahrt

Fr. David Friel · January 2, 2025

T THE VERY START of this Jubilee year, we mourn the passing of Dr. William Mahrt, who died late in the afternoon of January 1, 2025. One of the world’s foremost authorities on Gregorian chant, Dr. Mahrt was a tremendous teacher whose depth of scholarship was matched by his greatness of soul. Dr. Mahrt’s writings in musicology, especially within the realm of Gregorian chant, are truly magisterial. Readers of the CMAA’s Sacred Music journal will remember Bill’s insightful and pithy editorials in each issue, almost always bearing a one- or two-word title. His reviews of repertoire in the same journal show forth his unparalleled mastery of chant and polyphony. The 2012 reworking of a number of earlier articles into the book The Musical Shape of the Liturgy was a great gift for a new generation of men and women who are dedicated, like Bill, to promoting the Church’s treasury of sacred music at the parish level.

This is one of the most remarkable things about Bill’s professional life: although he was ever the scholar, he was never removed from the demands of actual liturgical praxis. He led a successful career as a professor at Stanford University (his alma mater), and he also led the St. Ann Choir week-by-week in rehearsal and at Sunday Mass in Palo Alto continuously for more than fifty years. Bill was no ivory tower academic, but a brilliant and faithful man who had tasted heaven in the chants of the Church and who ardently shared his knowledge and love for sacred music with his fellow parishioners and musicians.

Numerous times, I heard Dr. Mahrt give lectures and presentations on sacred music, always learning something from what he taught. Occasionally, while participating together in various conferences, I had the chance to share a meal with him, which always felt like sitting at the feet of a (very humble) master. On a few occasions, I also had the imposing task of presenting papers on musical topics in his presence, during the course of which I cited one or more of his works. I will never forget his kindness and encouragement to me on those occasions.

Dr. Mahrt’s death is a real loss for his family and for so many others who came to love him for his gentleness and generosity, as well as his erudition and accomplishments.

AINT PAUL describes the way in which the Holy Spirit manifests Himself in human souls: “The fruit of the Spirit is love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, self-control” (Galatians 5:22-23). According to this standard, Bill was a man very much filled with the Holy Spirit.

We pray that Dr. Mahrt may soon sing alongside the angels and saints as part of the heavenly choir. Requiescat in pace!

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

Filed Under: Articles Tagged With: Church Music Association of America CMAA, New Liturgical Movement Blog, William Mahrt Gregorian Chant Last Updated: January 2, 2025

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 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 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Iconographic tradition has theologically interpreted the manger and the swaddling cloths in terms of the theology of the Fathers. The child stiffly wrapped in bandages is seen as prefiguring the hour of his death: from the outset, he is the sacrificial victim, as we shall see more closely when we examine the reference to the first-born. The manger, then, was seen as a kind of altar.”

— Pope Benedict XVI (2012)

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  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

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