In the 1880s, one of the foremost manufacturers of organettes in the U.S.A. was the 'Mechanical Orgiuinette Company', later the Ĉolian Company. From the tiny organettes they progressed to reed organs of similair size to an upright piano, and which were operated by a 46-note music roll. Very soon afterwards the 58 note music roll was introduced and both rolls and instruments bore the name 'Ĉolian Grand'. These instruments were very well built, and beautifully finished but the sound that they produced was little more than that of a high quality harmonium or reed organ.

During the late 1890s, the Ĉolian Company introduced the 'Orchestrelle', which used the same 58-note rolls as the Grand, but which was tonally far superiour. Operating on air under pressure, as opposed to suction Orchestrelles incorporated a number of ideas developed by various manufacturers which had subsequently become part of the Ĉolian empire. Each bank of reeds within the instrument was fitted with a row of modifying chambers which refined the 'raw' sound of the reeds in much the same way as the human mouth modifies the sound of the vocal chord. By varying the shape and material of these chambers, the Orchestrelles became 'one man orchestras' capable of producing quite beautiful effects. An average model sold for about £600 at the turn of the century when an average office worker might earn £350 per year!

Sometime around 1900, the ~Solo Orchestrelle' using the same 116-note music rolls as the Ĉolian Pipe Organ, was introduced. By doubling-up on the number of perforations across the music roll it was possible to play music which was arranged for solo and accompaniment effects. For instance, the melody could then be played on, say, the Oboe stop, whilst the accompaniment was played, entirely independently, on the soft Flute and Strings.

Click See The Conquering Hero Comes to download and hear this classic performed on the Ĉolian Orchestrelle. (MP3 File 5.39MB) Taken from "Out of the Attic" cassette available from the Museum Shop.
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