The Sanctuary Choir resumes its role in leading worship in August. The choir will return to lead worship in stages: the men of the choir will sing on August 8, the women of the choir will sing on August 15, and the entire choir will be back on August 22.

It would be wonderful if a few new faces would wander upstairs and try us out for a while. We’re actually very friendly and fun to hang out with. But we take our role as worship leaders (not performers) very seriously. From my perspective, the purpose of a church choir is to enhance worship and to illuminate the Word through a musical expression. A church choir is not intended to be a performing ensemble. The choir works hard at doing things correctly, but offerings of anthems are authentic expressions of faith and a significant part of stewardship for those who feel called to participate.

Are we a volunteer church choir? No! The choir is an ensemble of God’s people responding to a call to serve. If God is, perhaps, warming your heart to service through singing, feel free to speak with me or simply come to the choir room on Wednesday evenings at 7:15. Our choir has an age range from 15 to 80, and we will find a place for anyone who is responding to God’s call.

In her recent sermon, Katie Arnold challenged us to respond to a call that might make us uncomfortable but lead to new relationships and new rewards: “Where is God calling you to step up and step in? Who might God be calling you to invest in?” Come make some music with your friends. /Pat Flannagan

Two of our own young adult volunteers. They most recently helped make VBS both fun and effective.

In August, the thoughts of those compiling the PCUSA planning calendar turn with measured tread to the young people of the church. The first Sunday of the month is designated Celebrating Young Adult Volunteers, and the second is College and Young Adults Sunday. We are sure that David Moore (July 28–31) and Ron Fox (August 4–7) will have those visions before them as they mow the church lawn. Larry Connolly (August 11–14) will have the tricky task of balancing Youth in the Church and the World with Day of Prayer for the Peaceful Reunification of the Korean Peninsula when he mows for August 15. JB Madison (August 18–21) will no doubt ponder Public Education: Young Adult Volunteer Commissioning Sunday as he mows for August 22. Fred Harkleroad (August 25–28) and those keeping score at home will want to know that the calendar planners gave August 29 a blank look.

August 1: I have chosen Sunday’s pieces because of their simplicity, beauty, and elegance. Two were written just after World War II. They exude an air of freshness, wonder, and innocence, qualities one might expect upon emerging from a long period of darkness.

“Aria voor orgel” (Aria for Organ) by Flor Peeters (pronounced PAY-TERS) was composed in 1946. An aria is a self-contained piece for one voice. The term can refer to any expressive melody, and is usually (but not always) performed by a singer. Peeter’s Aria carries its one voice with a solo stop, under which an accompaniment of gentle quarter-note chords pulses in ¾ time. Peeters (b. 1903) was a Belgian composer, organist, and academic teacher. He was director of the Conservatorium in Antwerp, and organist at Mechelen Cathedral from 1923 until his death in 1986.

“Chant de Paix” (Song of Peace) was composed by Jean Langlais (1907–1991). It is one of nine pieces (Neuf Pièces pour Grand-Orgue) published in 1945. The piece has long, ethereal chords played on the string stops of the recit (swell division), over which ascending figures are played on the flûte stops of the pedals and other manuals. The overall effect is one of complete serenity. Langlais described himself as “Breton, de foi Catholique” (“Breton, of Catholic faith”). His works include masses and organ music, some based on Gregorian themes, enhanced by polymodal harmonies. It was as an organist that Langlais made his name, following in the footsteps of César Franck and Tournemire as organiste titulaire at the Basilica of Sainte-Clotilde in Paris in 1945, a post in which he remained until 1988.

“Postlude pour la Fête Dieu, on Pange Lingua” by Pierre Camonin (1903–2003) is written in toccata style with lush impressionistic harmonies. Phrases of the chant, played by the feet, are interspersed throughout. The piece concludes with a fanfare-like coda. Camonin was Vicar of the Verdun Cathedral, and the titular organist from 1935 until his death—some 68 years!

August 8: Every once in a while a new piece of music just happens to fall into my lap. Such is the case with the music I will play August 8. On July 14, I attended a concert across town at Central Presbyterian Church. Organist and composer John S. Dixon was there to perform a concert of his own compositions. He is on a personal mission to perform his own compositions in all 50 states in 10 years.

I had heard of John Dixon before. At each of the AGO (American Guild of Organists) National Conventions I’ve attended (2012, 2014, 2016, 2018), there would be a sample of John’s music in the packet of materials handed out at registration. At this concert on July 14, John explained his rationale for doing this. He said he personally prints 2,000 copies for convention workers to stuff into each packet. “If you can’t get people to buy your music, then you give it away.”

John is indeed a generous and gracious man. He had a number of copies of his music at the concert, free for the taking, as well as his published materials. I ordered one of his books, and in his confirmation email to me, he attached PDF copies of the piece I will play next Sunday: Variations on LEONI. I will play “Prelude” for the prelude; “Intermezzo” as traveling music for the children as they leave for Kids’ Kirk; “Aria” for the offertory; and “Fantasia” for the postlude.

John’s compositions are immediately appealing to listeners because they are largely based on familiar tunes. And they appeal to organists because, as John says, “I never write anything I can’t play myself.” Most of John’s compositions are also short for one simple reason: “I hate having to turn pages.”

John was born in England in 1957, and grew up about 50 miles east of London, near the Thames River estuary. Starting piano studies at age 6, he progressed to pipe organ at age 11. His first composition for public performance was the score to an original book for a youth theatre production when he was 16. Although he did not make music his major field of study or his career, he was active in music and theater while studying for his BA at Oxford University and later while earning an MBA at Harvard.

When he moved to America permanently in 1988, he became a member of Providence Presbyterian Church, where he now serves as Organist and Composer-in-Residence. At first, John concentrated on writing for church use: anthems for choir and organ voluntaries. More recently, he has been writing for professional performers, small ensembles, and full orchestra. His music has been performed all over the world.

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