REORGANIZED CHURCH OF JESUS CHRIST OF LATTER DAY SAINTS-THE TEMPLE INDEPENDENCE, MISSOURI

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2 REORGANIZED CHURCH OF JESUS CHRIST OF LATTER DAY SAINTS-THE TEMPLE INDEPENDENCE, MISSOURI CASAVANTFRERES COVER FEATURE The Building The new Temple of the Reorganized Church of Jesus Christ of Latter Day Saints in Independence, Missouri, is truly remarkable in virtually every aspect, not the least of which is the fact that the spiral-shaped structure-unlike any other building ever builtwas completed on schedule, under budget, and paid for when finished. The completion of this complex is the result of the contribution of thousands ofmembers and friends who gave of themselves and their resources to realize a dream more than 100 years old. The Temple is located on a 42- acre tract of land purchased in 1831 by Bishop Edward Partridge. The new building stands across the street from the Auditorium, home of the well-known Aeolian-Skinner heard for many years on the radio broadcast The Auditorium Organ. Independence has been world headquarters for the RLDS church since President W. Wallace Smith called for preliminary planning for the Temple as early as Actual planning followed the 1984 World Conference, which adopted the following statement of purpose for the project: "The Temple shall be dedicated to the pursuit of peace. It shall be for reconciliation and for healing of the spirit." The building, which is open to the public, offers tours seven days a week. Since opening, some 60,000 visitors per year have passed through the doors-fjhnemagnificent structure. Ground breaking took place at the 1990 World Conference when 12,000 people attended the 160th anniversary of the church's organization. Funding for the $75 million project had begun in 1988 with some 28,000 people making commitments over a fouryear campaign. Construction costs included $35 million for the Temple building with $15 million for the furnishings, fees, etc., plus another $25 million for an endowment fund to ensure the maintenance of the structure and programs of the church. Principal architect for the project was Gyo Obata of the firm Hellmuth, Obata, and Kassabaum. One of the largest architectural firms in the United States, this St. Louis firm has achieved international acclaim for their work. Already this building has won a number of architectural awards, including specific recognition for lighting and stained glass. The church leadership, believing "Temple Builders should be People of Vision," encouraged Obata to create a noble but not ornate building in a new form rather than using some conventionally accepted church architectural style. The idea of a seashell design first came to Obata on his return flight to St. Louis following meetings held in Independence during the 1988 World Conference. Initial design sketches were made public in September of 1988 and immediately drew positive reaction from church leaders who responded to the universality of the im- age. Since the design does not reflect any particular architectural style, it is appealing equally to people of many countries, artistic orientations, and ages. For the denomination, whose 240,000 members reside in 38 different countries, it was especially important to utilize a design of such conception. The unique contemporary edifice, which required revolutionary building techniques, actually is based upon the ancient and natural form of the nautilus shell. The 300-foot-tall structure houses the sanctuary seating 1,000 on the main floor and 600 in a balcony that circles around almost three quarters of the space. Entering the room, one's eye is drawn to the spiral ceiling that ascends 195 feet from the main floor. Over one million cubic feet of volume inside the room provide an incredible space for the performance of music. The acoustics of the room are very favorable for music, especially the organ. The reverberation time is long and the "tail" of sound fades away slowly and evenly. Perhaps even more remarkable is the fact that the sound of a single stop, even one quite soft, has incredible presence. One never has the impression of stops sounding remote or far away. So, while the full ensemble fills the space dramatically, individual voices sing with a clarity and presence not customarily associated with such vast spaces. The complexity of a building in which every structural member, every pane of glass, and every piece of stone is a unique shape and size called for special treatment. The building probably would not have been possible without Computer Assisted Drafting (CAD), which was essential in communicating ideas thoroughly and accurately between architect and contractors. Detailed 3-D images were generated and changed the way designers and builders work together. Essentially the entire structure was built and tested first in three-dimensional form in the computer. Construction began in the spring of J.E. Dunn of Kansas City, general contractor, described the building as "the most interesting and challenging project in 66 years of work." In order to support the building during construction, a 150-ton steel shoring tower was built in the center of the worship space as the first element of construction. This tower remained in place through the building of the external structure, which is covered with granite and stainless steel. The hoisting of the spire in February 1992 marked completion of the exterior. As the interior was finished, the shoring tower, which had doubled as a scaffold, was removed gradually, leaving the large open sanctuary, which is beautiful to both eye and ear. So well engineered was the project that the settling of the structure was less than a fraction of an inch when the shoring tower was cut free. From the exterior, the visitor enters a spacious foyer. Here one encounters artist Kathy Barnard's delicate and incredibly detailed woodland scene sculpted on three large THE AMERT~AN nr~anj!:t

3 clear-glass panels that form the portal through which one passes on the journey into the sanctuary. Such symbolic elements, this one reminiscent of one of Joseph Smith Jr.'s early religious experiences, are found along the wide circular "Worshipers Path" that leads to the sanctuary itself. Natural elements such as stone, wood, water, and plants combine to give a feeling of anticipation for what is to come. After completing the walk, which gradually ascends one full story, the first awe-inspiring view of the sanctuary is seen. There is such simple elegance to the basically unadorned room that one feels immediately that this truly is a special place. While the eye explores the curved lines and incredible openness of the room, the ear senses that sound floats effortlessly in the space. Almost immediately one's attention is drawn toward the ceiling, which is the building's most unique and striking architectural feature. As the surfaces spiral upward and move away from the viewer, light coming from the ribbon of almost invisible clerestory windows illuminates the successive diminishing curves and layers with subtle shades of color. One is impressed by both its beauty and the engineering and labor needed to realize its construction. The main focal point of the room is the centrum containing a walnut communion table and pulpit. Just above is seating for a choir of 60 in four semicircular rows. A grand piano and the organ keydesk are located in this area, where communications between musicians can take place easily. Above and behind the choir is the imposing but appropriately proportioned organ case. The Organ The organ's woodwork is made of maple finished with a special treatment to give it a very light color without obscuring the natural grain of the wood. The 40-foot-wide case has the appearance of being curved but, like tional organ simply to fill the lmge volume, where the ceiling spirals upward nearly 200 feet above the nave floor. From a tonal point of view, this was a perfect opportunity to create a Grand Plein-jeu based upon a 32' Montre reminiscent of famous examples such as Tours Cathedral and the Riepp organ in the Cathedral of Dijon. The vast space seemed to cry out for a Resonance division of heroic proportions in order to provide sufficient power when playing with an orchestra or accompanying a large congregation. Casavant first utilized the concept of a Resonance division almost ten years ago in its Opus 3603 built for the University of Nebraska at Omaha (Ill/31-45). The concept of expanding pedal stops to manual compass in order to allow them to be played in either location was first introduced by a French monk organbuilder. Brother Isnard, in his organ in Saint-Maximin in Very curiously, in spite of the effectiveness and beauty of this organ, the Resonance was considered a strange peculiarity and consequently not included in other organs until recent time. Fortunately, John Obetz and the leaders of the RLDS church and the Temple Organ Committee were open to the concept and were willing to allow the freedom of design permitting inclusion of the Resonance in this instrument. We are grateful to these people who adhered enthusiastically to a somewhat unusual project and supported it thoroughly. The basic plan for this specification, as with all our instruments, is to have a design built on architectonic rules. Just as the Temple's conical shape has the greatest area at its base so, too, the organ's sound structure is pyramidical. The pedal contains four 32' stops, a Montre, a full-length Trombone, plus electronic extensions of the Flute and Soubasse. The 16' open wood Flute in the Pedale was built to a very large scale in order to provide sufficient power in the low registers, something which reviewer Scott Cantrell described as "bass you feel in your bones." There are 32' plena on the Pedale and Reso- most of the building's other surfaces, is faceted. The facade contains pipes of the 32' Montre and rises 50 feet from the console level. When preparing sketches for the facade, our usual practice of working in onequarter-inch scale was changed to one-sixteenth inch per foot in order to draw on one piece of paper both the organ casework and the building elevation so there could be an evaluation of the instrument in the finished structure. Such a minute scale led our designer to state that the width of his pencil line was about the same diameter as some of the smaller pipes. The divisions of the instrument are distributed in a classic manner with the Positif expressif just above the console. The Grand argue is in the center just above the Positif, and the Recit above the Grand argue at the top of the case. The Pedale-Resonance is divided to the left and right of the three manual divisions. Every organ project requires careful evaluation and planning based upon the musical requirements, the room characteristics, organ specification, and placement. Designing an organ for a building that does not yet exist is especially challenging and becomes more so when the size and shape of the room are as unusual as the architecturally distinct Temple. From the very beginning, it was obvious that a truly unique approach to the organ's design and action would be required. The exceptional space demanded an excepnance divisions, 16' plena on the Grand argue and Recit, and an 8' plenum on the Positif. A similar principle is applied to the cornets. The Pedale Theorbe III (102/,', 62/5', and 4%') is used to reinforce the 32' pitch level without having to use reeds, thus forming a bridge between the foundations and reeds. A Cornet V on the Grand argue, cornet decompose on the Positif, Carillon III on the Recit, and Resonance Grand cornet with Grande tierce 3'/" provide cornets of different character and pitch on each division. Reeds of varied timbre, intensity, and pitch are found throughout the organ's divisions. Clicquot shallots were used for the Grand argue reeds and contrast with the jeux d'anches of the Recit, built with Cavaille- ColI shallots and located on a chest using 125 mm pressure. The Recit Hautbois 8' is on 90 mm in keeping with the French tradition that associates this stop with the fonds d'orgue. All of the Pedale-Resonance reeds use Cavaille-Coll shallots with the exception of the Trombone 32', which, like the Cromorne 8' of the Positif, uses Dom Bedos shallots. The polished copper Trompette-enchamade uses Schiffchen shallots on 200 mm of pressure. The organ's nomenclature is predominantly French for consistency and in recognition of the instrument's basic tonal orientation. Throughout the development of the design, every effort was made to create an instrument that would inspire musicians and be appropriate for the space and use it was to receive, rather than trying to copy an existing instrument or historical style. However, important applicable practices from the organ's rich history were studied and some, just as with the Resonance, provided the catalyst for concepts used here. If one considers big instruments in large spaces, the name Cavaille-Coll immediately comes to mind. In addition to plena built on various pitches beginning at 32', we fiti;d the harmonic series extended through the seventh (1'h') and ninth (%'). Cavaille-Coll very rightly pointed out that these pitches not only

4 add color to both solo voices and ensembles but also generate a sort of alchemy between the stops, reinforcing them dramatically. The Recit Carillon III (2'/", 1%', and 1 ') and largescaled Harmoniques II (2'h' and 1';") on the Resonance also come from this tradition. From the very beginning, John Obetz and the committee were interested in an organ incorporating mechanical action. The challenge of achieving an agreeable playing action in an instrument of such size and design is to overcome the demands put on the organ to be successful tonally in a vast space. Large divisions based on pitches below 8' require chests with large key channels and pallet openings, neither of which are completely compatible with opening the pallet by means of normally acceptable finger pressure. Introduce generous scaling plus the desire to have some stops on higher wind pressures and the challenge to the organbuilder increases. For solution here, several differing practices were employed, including placing the large bass pipes and stops of higher wind pressure on separate chests with separate ac- tions. Of course, such treatment is appropriate only in really large instruments and must be done in such a way that it does not negatively affect the musical result. The important question is the feeling at the console. The organist must have the same sense of action on all manuals over the complete compass, bass to treble. Those who are concerned more with theory than result and practice may be scandalized by such ideas, but those who approach the organ with an open mind soon lose themselves in music making and forget dogma and prejudice. Even before the trip to Independence in three vans, excitement grew as the organ was built in our workshop. Its structure filled our largest room from wall to wall; the ceiling was not quite tall enough to allow placing the tallest pipes on the Recit soundboards. Many visitors from North America and Europe played it in St.-Hyacinthe. John Obetz and Peter Judd visited in November 1992 when a crew from the RLDS came one last time to film final work on the organ before demontage. This footage has become part of a detailed documentary video of the building of the Temple. From the arrival on January 5, 1993, of Opus 3700 at the Temple, interest was keen in anticipation of the first sounds of the organ in this unusual building. What would be the result of over 20,000 hours of planning and building? While the result must be heard to be truly appreciated, from the beginning there has been much excitement about the instrument. In the very first review published in the Kansas City Star, Scott Cantrell stated, "Without question, it is one of the most glorious organs in North America." Non-musicians, too, have been enthusiastic in their response. Theologian Martin Marty felt compelled, in a Christian Century article, to remark that the Temple "has a Casavant organ for which one should make pilgrimages." Perhaps most rewarding and important has been the reaction of those who have played this instrument. Words such as warm, rich, luscious, and opulent are often heard as people describe sounds that virtually embrace the listener. There is clarity in contrapuntal music and very big, bold sounds of incredible density in the full ensemble. The organ never sounds aggressive and its lyrical and delicate sounds round out the palette of tone of an instrument that sings effortlessly in its remarkable home. In an article featured in the Kansas City Star on October 10,1993, John Obetz stated, "Of the people who have been in to play and hear it, there seems to be unanimity that this is one of the most spectacular organ sounds they have heard anywhere." The opening dedicatory recital was performed three times to capacity audiences in October of A CD recording is available with all of the music from the program except the encore, which was an incredibly moving experience of the entire assembly singing "Praise, my soul, the King ofheaven" (Lauda anima). The instrument has been featured on NPR's Morning Edition and recently on Pipedreams (Program No. 9441). Dedication events formally ended with the symposium: "The Organ in the 21st Century," held in March of 1994 (see TAO, Oct. 1994, p. 84). We take enormous pride in having been given the opportunity to build this significant instrument. Its positive and enthusiastic reception by listeners from all walks of life and levels of musical background has been extremely rewarding. We trust that its voice will continue to inspire those who hear it for generations to come. CASAVANT F~RES Jean-Louis Coignet J~cquelin Rochette Stanley R. Scheer From the Organist When plans for the new Peace Temple in Independence, Missouri, were announced, plans for a new organ began immediately. The RLDS church headquarters already had the Auditorium-a space seating almost 6,OOO-and its well-known Aeolian-Skinner organ. The new Temple sanctuary was to seat fewer than 2,000, and it was to be a space dedicated to worship, not a multipurpose room as is the Auditorium. Choosing an organ that would complement and not attempt to imitate or compete with a glorious Aeolian-Skinner suggested THE AMERICAN ORGANIST

5 that the committee should pursue a mechanical-action instrument. After considering several outstanding builders, we chose Casavant Freres, largely because of their tonal orientation, history of quality instruments, and the unique approach they suggested to solve the problem of building a large tracker organ that also possessed good, sensitive key action. Part of that solution included the employment of a Resonance division. The concept of a Resonance was new to me and required considerable explanation to overcome my apprehensions. I can now enthuse, however, about its success, especially for situations like ours. The Resonance derives much of its pipework from the Pedale, extending the range from 32 notes to 61, thus making the large-scaled pedal stops playable in the manual range. This includes two of the 32' stops and the big pedal reeds and principals. The Resonance also contains two bigscaled open flutes, a Grand Cornet, and other harmonics that function superbly in solo lines or full ensembles. Placed on electropneumatic chests, the key action for this fourth manual is electric, and couples to the Grand Orgue and Positif electrically. All other intermanual coupling has the option of electric or mechanical action. Living with the organ for almost two years now, I have become increasingly enamored of the Resonance division, using it in a variety of ways. When a huge ensemble is called for, as in much symphonic literature, it provides the necessary power, weight, and color. The battery of reeds is there to stand alone in fanfares or to furnish the ultimate climax. The division's first mixture being pitched for the Principal 16' provides a rich, dark, but clear ensemble with true gravity. The foundations, with or without the reeds and cornets, provide a strong, singing, powerful solo line to lead hymn singing. Occasionally I include one of the manual 32' stops and playa stanza without pedals, with the bass an octave lower than written, and the right hand, with filled-in harmony, an octave higher. The effect is incredibly powerful. (There have been even a few occasions when this combination offered a simpler solution to a difficult pedal part.) Other tonal features include the flat seventh (l'h' Septieme) and ninth (%' Neuvieme), harmonics that appear on the Positif to complement the 8' foundation, an octave lower on the Resonance for the 16' foundation, and another octave lower in the Pedale for the 32'. These harmonics are a part of the normal overtone series but rarely are found on organs. They are, however, strong reinforcements to the reed chorus and were much admired by Cavaille-Coll. Additionally, there is a celeste to beat with the Montre of the Positif (Voce umana). Thus, there are three celestes with differing weights and colors: flute, string, and principal. The Positif is enclosed to give yet more flexibility to the organ as an accompanimental instrument. Trying to anticipate the variety of musical and worship styles that might be called for in the next generations, we wanted an instrument that would be versatile, flexible, and contain the best solid-state accessories. We have 64 levels of memory and a list system that permits the organist to sequence the pistons used in any given piece, then activate them at the appropriate time by pushing a "next" piston with either finger or toe. Of course, no organ can be truly successful without a good acoustical environment. And what is good for organ sound is also good for congregational singing. Happily we were able to have this established as a primary consideration before the architects were chosen. R. Lawrence Kirkegaard & Associates was chosen as acoustical consultants and designed the glorious results, some four seconds of reverberation. Even with the room full, there is almost three seconds. Another factor in the success of the project was having the acoustical consultant, organbuilder, and architect chosen before any planning took place, thus making possible beneficial interaction of all three principals from the very start. The real success of an instrument like this will be measured after due time, living with it in a variety of uses, learning of its reliability, and hearing a wide spectrum of responses. Given the overwhelmingly enthusiastic responses during its two-year history, we can anticipate that this new instrument will long be heralded as one of this country's great organs. Principal JOHN OBETZ Organist From the Church From the time of its initial planning, the RLDS Temple has been envisioned as a building that would be dedicated to the church's mission for peace. In addition to the 1,600- seat worship space, the buiwing houses offices and classrooms from which emerge various peace-related "Temple ministries." From the outset, the RLDS Church was determined that the Temple in Independence would be built by the church, but not for its own purposes and activities alone. It is our hore and expectation that people from allover the world~people of all faiths and walks of lifewill feel welcome within its walls. Many thousands of visitors have toured the building since its opening and attended the many events that have been held here. Fundamental to the Temple's programming is a ten-minute prl!yer for peace service, held at 12:30 P.M. (Central Time) each day of the year in the sanctuary. This consists of prayers, readings, periods for silent reflection, and a hymn sung by the congregation. Each of these services begins with the lighting of the peace candle, which remains lit until the building is closed at the end of the day. Since its opening, various other services, concerts, recitals, and conferences have been held at the Temple. Highlights include the annual Peace Colloquy with the presentation of the International Peace Award-given in 1993 to Jehan Sadat and in 1994 to M. Scott Peck. We recognize that worship and the pursuit of peace take many forms and look forward to sharing this magnificent building with an increasing number of individuals and groups who share with the RLDS Church these common endeavors. PETER A. JUDD. Director Temple Worship Center From the Acoustician Because of the large volume enclosed by the spiral shell of the sanctuary, achieving a long reverberation time to serve the organ was readily available and therefore not our primary concern. The more difficult tasks acoustically were to provide supportive surfaces for projection of the organ's sound and to avoid the echoes and focusing conditions inherent to the room's shape. Providing adequate bass response and integrating acoustic solutions with architectural design were the other major challenges. An unoccupied reverberation time of 3.5 seconds at 500 Hz resulted from limiting absorptive material to the minimum required for control of footfall noise and echoes-thin carpet in the aisles and thin mineral-fiber ceiling tiles over the circulation area at the back of the balcony. Originally, the pews were to be all wood, and retractable velour drapes in the zone below the windows were to provide the ability to adjust the reverberation time for different uses and levels of occupancy. Due to the client's concerns about comfort and cost, upholstered pews were ultimately selected and the drapes deleted. The padding on the pews was kept to a oneinch thickness to minimize its absorption at middle frequencies. The pew backs remained exposed wood to avoid adding unnecessary absorption to the room. Although the padding on the pews reduces the maximum possible reverberation time in the room, it also tempers the acoustical change between the frequent uses by small groups and the occasional 100% occupancy. The organ was placed high on the wall above the choir behind the centrum to provide it access to the reverberant volume. This location ensures clear line of sight to virtually every seat in the room and provides close communication with the choir and with musicians on the centrum. Since the sanctuary's side walls are too distant to provide useful support to the organ, choir, or centrum, we added two tall pylons flanking these areas. The pylons send close, supportive reflections to the pews and interrupt some of the side-wall echo paths. The convex curves on the face of the pylons help to spread these supportive reflections to cover most of the congregation. To overcome the fundamental tendency of the building's spiral geometry to focus sound, most wall and ceiling surfaces took on convex bowed shaping. The paired bows proposed for the ceilihg were built at one-fourthinch scale and placed in a model of the room. They were then covered with mylar to check for focusing conditions on the main floor. Using a small light bulb at the centrum to simulate a sound source, the shaping of the ceiling was adjusted in the model until it provided an even dappling of reflected light on the main floor. Both the bowed ceiling and bowed wall surfaces in the upper volume diffuse sound to reduce confusing echoes. The spiral shape does not allow the roof and walls in the upper revolutions to be as heavy as they ideally should be for a maximum bass response. Nevertheless, pains were taken to make all surfaces as heavy as they practically could be: stone walls in the first revolution, three or four layers of gypsum board with plaster skim coat in the second and third revolutions, and single-layer gypsum board o~ly in small areas at the very top of the spiral. The ubiquitous curves aid bass response by increasing the stiffness of the walls and ceilings. The result of all this attention-and the cooperation of a sensitive architect-is a warm, richly reverberant room that beautifully supports the magnificent Casavant Freres organ, inspiring the worshipers through ear, eye, and heart. KIRKEGAARD AND ASSOCIATES Larry Kirkegaard Joseph W.A. Myers

6 REORGANIZED CHURCH OF JESUS CHRIST OF LATl'ER-DAY SAINTS THE TEMPLE INDEPENDENCE, M,!SSOURI CASAVANTFRERES SAINT-HYACINTHE. QuEBEC GRAND ORGUE (I) 16 Montre 8 Montre 8 Flute a cheminee 4 Prestant 4 Flute 2 Doublette 2% Cornet V (G8) 1% Fourniture IV-V % Cymbale IV 16 Bombarde (full length) 8 Trompette 16 Bombarde-en-chamade (Res.) 8 Trompette-en-chamade (Res.) POSITIF EXPRESSIF (II) 8 Montre 8 Voce umana (TC) 8 Bourdon 4 Prestant 4 Flute a fuseau 2% Nazard 2 Quarte de nazard 1 'Is Tierce 1% Larigot 1'h Septieme % Neuvieme 1 Plein jell V 8 Cromorne Tremblant 16 Bombarde-en-chamade (Res.) 8 Trompette-en-chamade (Res.) RECIT (III) 16 Bourdon 8 Principal 8 Cor de nuit 8 Viole de gambe 8 Voix celeste (GG) 8 Flute douce 8 Flute celeste (TC) 4 Octave 4 Flute octaviante 2 Octavin 2% Carillon III 2 Plein jell V-VI 16 Basson (full length) 8 Trompette harttlonique 8 Hautbois 8 Voix humaine 4 Clairon harmonique Tremblant RESONANCE (IV) 32 *Montre (Ped.) 32 *Bourdon (Ped.) 16 * Principal 16 * Flute a cheminee 8 Diapason 8 Flute harmonique 8 Flute majeure 4 Octave 3% Grande tierce 2'h Harmoniques II 2% Grand cornet III-VI 2% Grande fourniture II-VI 2 Plein jell harmonique II-V 16 8 *Bombarde * Trompette (full length) 4 *Clairon (ext.) 16 * Bombarde-en-chamade 8 * Trompette-en-chamade PEDALE 32 * Principal basse (ext.) Flute (elec. ext.) * Soubasse (elec. ext.) 16 *Principal (Res.) 16 Flute (ext.) 16 *Soubasse (Res.) 16 Bourdon doux (Rec.) 8 Octavebasse 8 Fll1te * Bourdon (Res.) 4 Octave * Flute (Res.) 2'/' Mixture V 10'/3 Theorbe III 32 Contre-trombone (ext.) 16 *Trombone (Res.) 16 Basson (Rec.) 8 *Trompette (Res.) 4 *Clairon (Res.) 8 *Trompette-en-chamade (Res.) 4 *Clairon-en-chamade (Res.) * Stops common in Resonance and Pedale. ANALYSIS ~ Grand argue 11 Positif 13 Recit 17 Resonance 14 Pedale Ranks ~ 1,289 1,025 1,421 1, Total: ,685 COUPLERS Grand Orgue/Ped!i;le Positif/Pedale Recit/Pedale Resonance/Pedale * Positif/Grand argue * Recit/Grand argue Resonance/Grand argue * Recit/Positif Resonance/Positif *Mechanical and alternate electric coupling available DESIGN DETAILS Mechanical floating key action-grand argue, Positif, and Recit Electric stop action Electronic combination action-64 memories Balanced expression pedals-recit, Positif Programmaole crescendo-four levels Keyboards: Ebony covered naturals, rosewood sharps with bone caps Pedalboard: Maple naturals, rosewood sharps Drawknobs, thumb pistons, and nameplates-rosewood Maple casework Wind pressures: Grand argue, 85 mm Recit, 90 mm Recit chorus reeds, 125 rom Positif, 85 mm Resonance, 120, 125, and 150 mm Pedale, 100 and 125 mm Pedale reeds, 130 and 150 mm Trompette-en-chamade, 200 mm Curator: Carroll Hanson Regional Representative Casavant Freres Cover photo: Balthazar Korab Ltd. Copyright 1995 American Guild of Organists, reprinted by permission