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Opus 94

Nov 9, 08:54 am

The Martin Ott Pipe Organ company designed the organ to architecturally complement the space as well as to meet the musical needs of the congregation. The case is red oak with a clear finish. The freestanding design protects the organ and projects the sound into the church.

The clean, modern design complements the architecture but also serves another purpose. The slight angles of the façade allow the sound to project to the front and to the right.

Another notable feature is the pipe screen at the top of the towers which was designed by Michael Christianer, of Shaughnessy Fickel and Scott Architects Inc., and executed in red oak by Martin son, Sascha Ott.

The layout of the divisions is asymmetrical. The pedal division, which has the tallest pipes, is on the left. The great division is behind the façade pipes on the top right and the swell is just above the keydesk.

The swell shades wrap around two sides of the case so that the choir, which will be to the right of the organ, will be better able to hear the organ.

The Rückpositiv was initially omitted to keep the organ costs within the budget. In 2006 this division was completed. The Rückpositiv is suspended over the balcony manifested in the balcony railing.

Opus 94

Atonement Lutheran Church
Overland Park, Kansas

Year of commission 1997

This project took place under the most ideal conditions for an organ builder. When Martin Ott was first approached by Atonement Lutheran Church, he was pleased to see their interest in a high-quality pipe organ that would serve their congregation for generations. The architect firm, Shaughnessy Fickel and Scott Architects, along with the pipe organ consultation firm, Scott Riedel and Associates, were very supportive and designed a space that met the spatial and acoustical needs of a pipe organ. The final decision resulted in a rear balcony placement with the organ on the left side and space for the choir on the right side.

The tonal design of this three-manual instrument will support the strong musical tradition of the Lutheran church. The sound is clear and bright as opposed to the lush, layered sound of Romantic instruments. The instrument is flexible and will be able to support congregational singing, choral anthems, and solo organ literature for preludes and postludes. The façade pipes are 75% tin, which contributes to the bright sound. The wooden pipes are made of white oak and cherry. The Rückpositiv is a smaller version of the great division, visually and tonally. The Rückpositiv is in close proximity with the congregation and therefore enforces congregational singing.

The mechanical key action is self-regulating to adjust to changes in humidity and temperature. A closed-circuit TV monitor allows the organist to visually communicate with the choir director, the altar, and the narthex entrance. The keydesk also has solid-state combination action, this allows the organist to store multiple combinations of sounds. Richard Houghten, of Michigan, was consultant and installer for this combination action.

We are especially grateful to the congregation for their enthusiasm and assistance. Many members spent a hot Sunday afternoon unloading the organ with our organ builders. Several families offered us the use of their houses while we stayed in Kansas City during the installation and voicing of the instrument. The organ committee facilitated the organ building process. They traveled to St. Louis to see their instrument during the construction." says Martin Ott.

The following craftsmen participated in the design and building of this organ:
Alexander I. Bronitsky, William Dunaway, Marya J. Fancey, Donna Hodges,
Alex D. Leshchenko, Eileen Gay, Earl C. Naylor, Martin Ott, Sascha Ott, Thorsten Ott, Christopher Orf, Inna Sidorov and Jeffery Spitler.

Brother Teresio, a monk from the Benedictine Abbey of Mount Angel in Mt. Angel, Oregon, assisted with the installation of the Rückpositiv in 2006.

 

38 stops | 55 ranks | 1 extension
Mechanical key action | electric stop action