Martin Ott Opus 115 at Martin Ott workshop
The company entry describes Martin Ott Opus 115 as a portable American walnut continuo. Its specification gives three stops and three ranks, tracker action, and transposition between A440 and A415. The commission line gives 2013.
Balcony, altar and sight lines: the workshop's portable sale organ
For a portable organ such as Opus 115, the relevant space begins with the route into the interior and the player's place within an ensemble. The dated notice cannot establish a present owner or a later schedule of performances. The written account includes no acoustic measurements.
There is no permanent balcony or chancel to reconstruct for Opus 115. The useful spatial questions concern doorways, lifting, blower access and a clear line of sight within an ensemble. No such measurements accompany the old page.
3 stops and 3 ranks: the scale of Opus 115
On paper, Opus 115 offers 3 stops drawn from 3 ranks. For Opus 115, the two figures answer different questions: one counts console controls, the other pipe sets. The 3-stop, 3-rank summary for Martin Ott workshop shows that this is a small instrument by pipe-organ standards, though pitch levels and pipe families can still provide useful contrast. The Opus 115 outline adds that the number of manuals requires the complete stop specification. One numerical limit remains in Opus 115: arithmetic cannot reveal the builder's priorities; the disposition can.
Opus 115 gives the same number for stops and ranks. The published numbers for Martin Ott workshop support a narrower conclusion: the match is useful, though only the disposition can show whether every control had an independent pipe set. For Opus 115, the numerical relationship is helpful, but it is not a substitute for the disposition.
Touch, coupling and response: the workshop's portable sale organ
No electrical key command is listed for Opus 115; the keys worked mechanically to admit wind to the pipes. Under the action description for Martin Ott workshop, this gives a clear technical category but not a condition report. Coupling load and present regulation remain unknown.
Under the action description for Martin Ott workshop, tracker layout links architecture and touch: distance, turns and couplers all affect the path. The short account of Opus 115 does not provide those shop dimensions.
Cabinet, console and pipework: the workshop's portable sale organ
Opus 115 had casters and carrying handles; its lower blower section could be separated to ease transport. For Opus 115, the record records enough construction detail to discuss the installation without claiming to recreate the whole organ. The surviving design account for Martin Ott workshop clarifies this point: neither windchest drawings nor full case dimensions survive here.
For Opus 115, the organ case and console belong to the documentary story, not merely the decoration. In the design record for Martin Ott workshop, their arrangement preserves practical decisions made for this room.
Players and occasions: the workshop's portable sale organ
The source presented the instrument for sale at the time of capture, but that historical notice does not establish its present availability. It was designed for ensemble, orchestral, choir-touring, and other on-location performances. The design followed a tradition associated on the entry with German organ builder Paul Ott, whose small instruments were sized for Volkswagen vans of the 1950s and 1960s. All pipes were secured for travel, and the partly open upper cabinet gave the player a clear view of the conductor. The company account does not establish subsequent ownership, location, or condition. A portable continuo is understood through the work it can do beside singers and instrumentalists. The old notice describes that practical brief for Opus 115, while later owners and performances remain undocumented. According to the musical record for Martin Ott workshop, no dedicatory recital is named in the surviving material.
The absence of a recital in the surviving text does not mean Opus 115 went unheard. The musical record from Martin Ott workshop is incomplete here: it means that a dated public event has not yet been established from this material.
Evidence, images and unanswered questions for Opus 115
This history draws on the company's Opus 115 project entry as it stood on February 6, 2020. Alongside the written account are 2 project-page images. The company grouped these files as its gallery for Opus 115. No photographer is identified beside these files. At Martin Ott workshop, the surviving evidence can identify the commission without serving as a modern inspection report. For Opus 115, new evidence should begin with the institution, a named photographic credit and a date.