The 1975 chapter of Opus 4 at Second Presbyterian Church
Martin Ott Opus 4 is the 1975 continuo entry for Second Presbyterian Church in St. Louis, Missouri. The archived identity reads Second Presbyterian Church, St. Louis, Missouri, with a year of commission of 1975. Its overview gives five stops, seven ranks, mechanical action, and the continuo label.
For Opus 4, 1975 is the date attached to the original project line. It may denote an order, workshop period, installation, or dedication, but the source does not say which. The pairing with Second Presbyterian Church in St. Louis, Missouri prevents confusion with another instrument. Any current claim needs a later institutional record.
St. Louis as the setting for Opus 4
For this project, Second Presbyterian Church in St. Louis, Missouri is more than a city label but less than a room survey. It identifies the congregation that commissioned or received the organ. The page does not give enough architectural evidence to describe seating, reflective surfaces, organ placement, or measured reverberation.
The recorded scale of Opus 4 at Second Presbyterian Church
The catalogue records 5 stops and 7 ranks for Opus 4. Stops are choices at the console; ranks are rows of pipes that may serve those choices singly or in groups. The Opus 4 figures place the rank total 2 above the stop total. A complete stop list is needed to connect that numerical gap with actual registers. The brief line does not supply division names, pitches, or the individual voices behind the totals.
Action and control in the St. Louis project: Opus 4
For Opus 4 at Second Presbyterian Church, a mechanical action carries key movement to the wind valves through physical parts such as trackers and levers. The overview confirms that principle without drawing the linkage used in this organ. Key weight, adjustment, repairs, and present feel all require later technical evidence.
The Opus 4 overview also uses the term continuo. At Second Presbyterian Church, that label identifies a compact organ type suited to accompanying voices or instruments. It does not, on its own, prove portability or a particular pitch standard. Handles, casters, divided stops, and transposition belong here only when the project history names them.
Beyond the totals: one clue from Second Presbyterian Church: Opus 4
The archival portrait becomes most useful when it stays specific: Second Presbyterian Church is the named institution and the overview identifies a mechanical-action continuo. These details describe an organ made for a church, but they should not be stretched into an acoustic or tonal portrait. The source does not tell us which choruses, reeds, or accompanimental colours the player relied on. That analysis requires the original specification and a dated account of use. The listed 5-stop, 7-rank scale remains the numerical boundary for this reading.
A commission without a surviving project narrative: Opus 4
The page has no history paragraphs. Its only caption says Photos of Opus 3, and the listed image paths also use the Opus 3 number. The photos therefore belong to Opus 3, not Opus 4. For Opus 4, the archived source provides only the church, city, commission year, stops, ranks, action, and continuo type.
Photographs and unanswered questions from St. Louis: Opus 4
No image path can be matched confidently to Opus 4. A generic pipe-organ photograph beside Second Presbyterian Church would look documentary even when it is not. Until an identified and licensed photograph appears, the honest choices are no project image or a clearly labelled editorial illustration. The page also contains 3 links carrying a different opus number; those files are excluded as documentary images of Opus 4.
For Opus 4, the identity and numerical outline are the history. The next useful discovery would be a dated account from Second Presbyterian Church, not another general description of pipe organs. A programme or specification could establish the original musical brief; an identified case photograph could establish what the instrument looked like.