Faith and Sacred Music

Bill led the Saint Ann Choir at Saint Thomas Aquinas for most of its 60-year history. He is credited with the choir’s mission to sing Gregorian chant and Renaissance polyphony at Masses celebrated in Latin according to the Roman Missal in accordance with the principles in Sacrosanctum Concilium, Vatican II’s Dogmatic Constitution on the Sacred Liturgy.

According to Veronica Duluk, who served on the Saint Thomas Aquinas Liturgy Committee for many years with Professor Mahrt, “Bill brought his vast knowledge of Gregorian Chant to the parish. He had the gift of being able to prepare a liturgy with just the right music to make it a wonderful Mass that brought people closer to God.”

Longtime friend John O’Rourke remarked on Bill’s influence on his faith. “Contemplating and singing led to an opening of my mind to a very rich body of information about music and liturgy,” he said. “I understand more than before how liturgical action is ordered to the worship of the Lord in an excellent manner.”

Susan M. Weisberg, who joined the Saint Ann Choir in 1989, feels that through Bill’s expert guidance and unending support, she was able to know and embrace the Catholic liturgy. Regarding her late friend and choir leader she remarked, "You could feel his love and respect for the music.”

Kevin Lassiter, another Saint Ann choir member, recalled Mahrt’s devotion to the music of the liturgy as “selfless and complete.” He explained, “Bill habitually pushed himself to produce something beautiful and draw the best from everyone around him. He was an advocate for producing all the beauty that we can muster.”

A Generosity of Spirit

For Erick Arenas, a professor of music history at the San Francisco Conservatory of Music and Stanford alumnus, “Bill Mahrt became one of my most important mentors and musical influences almost twenty years ago. He always generously strove to share his specialized knowledge with us as much as he could.”

Erick, who took over as the new choir director, reflected on Bill’s generosity in welcoming anyone curious about chant. “Bill always ‘met people where they were.’ He welcomed anyone with basic musical experience or ability who had a sincere interest in this music.”

Bill Mahrt's life was a testament to his unwavering dedication to early sacred music. His presidency at the Church Music Association of America in 2005 and his role as the editor of their publication Sacred Music were just a few of the many ways he contributed to the field. His teachings and writings on early sacred music, along with his speeches at conventions, inspired musicians and left a profound impact on the field.

Early Encounter with Sacred Music

Erick recalled some of what Bill shared about his early exposure to chant while serving Mass at a small church near his family’s farm in Washington. “Early in life he took notice of the power that special music and liturgical solemnity had for conveying an important day in the Church. This sense drew him to participate in music and liturgy on a deeper level.”

While at the University of Washington, Mahrt participated in a group who provided the Gregorian chant for a high Mass in Seattle. This activity led to a moment in his life that he regarded as truly providential. Erick explained, “In 1963, Stanford professor William Pohl, attending a conference in Seattle, having heard a Mass where Bill sang, came to the choir loft to introduce himself and congratulate the singers on their work. In the fall, Pohl would be taking over the choir of Saint Ann Chapel in Palo Alto. Bill was planning to begin his doctoral studies in music that fall at Stanford. He would join Pohl as a founding member of the Saint Ann Choir.”

The timing could not have been more perfect, as the Church was about to implement several changes at the Second Vatican Council. Yet, as changes to the liturgy unfolded in the late 1960s and 1970s, Bill was affirmed in his mission by the documents of Vatican II, which holds Gregorian chant to be the music “especially suited to the Roman liturgy.” (see sidebar)

A Legacy of Sacred Music

Erick related how Bill’s last moments were filled with music. “The night before he died, many of us crowded into his hospital room and chanted the First Vespers of the Feast of Mary, which he was originally to have led that night. Small groups of visitors also gathered during his last hours to sing some favorite choral music we learned with him.”

Sacred music permeated Bill's death, just as it did his life. Those attending Bill’s funeral sang a chant piece together at the reception. It was a fitting tribute to one who was devoted to maintaining the centrality of sacred music in liturgy for all generations.

Bill’s influence also extends to the future, as Saint Patrick’s Seminary established the William P. Mahrt Chair of Sacred Music in 2023. This position will ensure there is an instructor dedicated to offering classes to seminarians and church musicians who wish to learn more about the tradition and history of early sacred music, like Gregorian Chant and Renaissance Polyphony.

Those Closest to Him Remember

Those closest to Professor Mahrt remember how Bill viewed the choir members as his collaborators and friends. “Bill demonstrated his affection for us by hosting post-liturgy gatherings from time to time,” Erick mused. “This ranged from wine and snacks in the rehearsal room to gourmet dinners he cooked himself at his home, as long as he was able to do so.”

John and Darlene O’Rourke spoke warmly of their four-decade-long friendship with Bill, expressing that, “We learned many, many things from him and his beautiful circle of friends.” Kevin Rossiter reminisced, “I was always learning from him, whether it was something about music, liturgy, an old joke, or a cooking tip. He was always a gentleman. He truly loved his family, students, and friends, expressing that love in ordinary actions done with remarkable care, kindness, and generosity.”

Susan maintains, “He had a strong and unwavering faith and confidence in his beliefs. He bravely endured many treatments and major health issues: never moaned or said, ‘Why me?’ He faced his challenges with courage, faith and practicality.”

To Erick, “Bill was a classic case of somebody who shared what he learned for the benefit of his community, whether scholarly or musical. He always had this attitude of somebody who has just discovered it, and he shared that infectious sense of wonder, love, and respect for it.”

Special thanks to Roseanne Sullivan who writes about the Saint Ann Choir’s and Bill Mahrt’s achievements.