THE THIRD WAY
companion. Before her illness she often relaxed by playing Mendelssohn Nocturnes or Chopin preludes on the piano, pieces she acquired as a young woman. She was an evangelist for the power of music her entire life. Nearly every one of her nieces and nephews received the same high school graduation gift from her: Aaron Copland’s 1939 What to Listen for in Music, or if you were very special, Milton Cross’ 1962 two-volume Great Composers and their Music. Even late in her battle with Alzheimer’s disease she sang every day, typically Morning Has Broken—or a version of it—to the bemusement of anyone listening.
the chants, hymns and acclamations. Another liturgy in the Sunday schedule is served by a semi- professional contemporary choir who likewise sings music of substance with excellence, all the while encouraging the full participation of the assembly.
Inspired by my parents who, by their example, taught me the meaning of bridge-building, reconciliation and conflict-resolution, I believe that there is a way forward that avoids the deficiencies of both ideologies and recognizes the positive attributes of every genre and age of liturgical music. But they must serve the liturgy and not the other way around. Liturgy fully expressed—liturgy that praises and thanks the Creator and preaches the Gospel in its words, music, and rituals—will transform its members and draw others to its generosity of spirit, its compassion, and its commitment to justice.
Conclusion
In the months leading up to the 2008 Papal Mass at National’s Park in Washington, DC, my mother was coming to the end of her nine-year struggle with Alzheimer’s disease. Four days before her death, she and my father watched the Mass on television together from her bed. Among the tributes to her after her funeral Mass, at a gathering in the home in which she raised her family, my youngest brother spoke of my mother’s two great loves outside of her love for her family: the Church and music.
On the one hand, her faith was inextricably woven into her entire life of prayer, advocacy and charity. And on the other hand, music was an ever-present
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My brother concluded his reflection on my mother’s leave-taking by further observing that in her final conscious moments she was able to witness the convergence of all three of her life’s great loves– seeing her son conduct the music for a papal mass with 50,000 participants and millions more participating through the broadcast. His observation was the greatest consolation that I could have hoped for on the occasion of my mother’s death to this life and entry into a new life in Christ.
Gracious and humble are words frequently used to describe my mother. When we are finally free from the effects of the current pandemic and the paralyzing political divisions gripping our country, it is my fervent hope that we can all find the grace and humility to seek the common ground among divergent views and ideologies, and that we can each do our part to create authentic liturgies that will be true sacrifices of praise to the one who calls us to a more vibrant life in Christ.
Tom Stehle was chosen to oversee the formation and planning of music for two papal masses, in 2008 and 2015, and is currently Pastoral Assoc. for Liturgy and Director of Music Ministries at St Matthew’s
Cathedral in Washington DC after beginning his ministry in Pittsburgh, PA. He attended the first NPM Convention in Scranton, PA in 1978 and has been active in the leadership of the organization ever since.
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