Most of us would have quit long ago.

Modern culture teaches us to zig, to change, to never settle. The social network LinkedIn celebrates and encourages continual career movement. Even 2012 figures from the Bureau of Labor Statistics note the average American spends approximately 4.6 years in any single job.

Yet my father, Philip Brunelle, has remained Organist-Choirmaster at Plymouth Congregational Church in Minneapolis for the past 45 years. Who does that anymore?

I know plenty of people with 12-15 years in one company, but they certainly did not hold the same job the entire time.

I’m trying to imagine the career coaching. “It says here, Philip, that you’ve been Organist-Choirmaster for, uh, 45 years. What else do you think you might be qualified to do?”

Now, it’s quite possible the church organist gig sits outside societal norms. It is, after all, the only musical instrument that employs all four limbs independently (well, aside from the drum set). But evidence from the American Guild of Organists suggests most organists today relocate every five to seven years, just like other American job-holders. Even the stalwarts hold on for a mere 20-25 years, tops, said NPR’s Michael Barone.

History offers further perspective. J.S. Bach held one organist position in Leipzig for only 27 short years. Notre Dame’s Louis Vierne held his job for 37 years. Among other Paris organists, César Franck spent 40 years at St. Clothilde and Olivier Messiaen, 42 years at La Trinité.

45 is rare indeed, even among organists. But the question remains, how?

It turns out the secret to such resilience isn’t just waiting out the clock. Longevity in this game, as in most, springs from the desire for and ability to nurture diversity and invention. It’s just as much about reinventing the image you have of yourself as it is reinventing what you do day in and out.

From my vantage, Philip’s work ethic respects what is, but continuously strives for what could be.

Since 1969, he has commissioned 65 composers – most from the USA but also England, Sweden, France, Finland, Germany, Canada, and Norway – to write unique works for the church choir to perform. No doubt the existing body of church music was huge 45 years ago, but Philip’s decision to expand it, to place importance on growing the repertoire, illuminates one way in which 45 years can fly by.

We’ve heard more than the organ and choir at Plymouth, too — everything from taiko drums to synthesize loops, South African marimba, to brass quintets and timpani every Easter. A few Sundays ago Philip lead the music for a Hip Hop church service complete with drums, guitar and rapping — this same service also featured the Agnus Dei from Rossini’s “Petite Messe Solennelle.” Again, who does that? Someone who continuously reinvents their job, that’s who.

Yet even within the narrow confines of the church organ, within the confines of tradition, Philip excels at improvisation. Just listen to the introductions to any hymn, as well as the interlude between the second-to-last and final hymn verses. Those notes are made up on the spot, every time, for 45 years running. Consider your own job and its deliverables — where can any of us find an opportunity to fly free, to build upon the efforts of our community? I’ll wager finding that outlet to improvise is a cornerstone in the edifice of my Dad’s 45 years at Plymouth. We should all be so fortunate, and so brave.

Yes, 45 years in one job is quite remarkable. I’m astounded weekly, Dad, by your ability to reinvent your role and keep it fresh for yourself, the choir and the congregation. But you still have a ways to go. Jean Guillou was organist at St. Eustache in Paris for 51 years. George Thalben-Ball held the organ chair at London’s Temple Church for over 60 years and your hero, Charles-Marie Widor, spent 63 years at St. Sulpice.

Just keep reinventing, Dad, and you’ll eclipse them all.