Quite often people feel that mechanical music is really "playing 2nd
fiddle" to the "live" music world.  But a short review of history can
show that mechanical music has earned first chair position many times.

The pipe organ appears to have started its musical life in a
keyboard-less format as a crude barrel operated instrument.  Music
boxes, musical clocks, and other cylinder operated instruments were
highly respected forms of music, in their times.  Enough so, that
composers often accepted commissions to write music to fit the
specific scale of an instrument.  Mozart's work in that field,
scoring music for mechanical flute clock, is perhaps the most well
known example.  But don't forget the Carl Frei March for fairground
organ.  Composing music for mechanical organ is only seen as a novelty
for those who don't know history.

When Aeolian introduced its two-row tracker bar and rolls (116-note)
called the "solo" system, the possibilities for great two-part
compositions were immediately recognized.  Aeolian was able to
entice some the finest early twentieth century composers to write
music for their 116-note "solo" rolls.  Victor Herbert, Camille
Saint-Sans, Edwin Lemare, Englebert Humperdinck, Caryl Florio, and
Moritz Moszkowski all composed for Aeolian and their works were
issued as rolls.

These works in some cases are not playable by hand without revision.
Still, these commissioned works are significant and should not be
taken lightly.  With the exception of Lemare, the rolls are only
issued in 116-note format.  The Lemare rolls are issued in both Duo Art
and 116-note format.

On my web site devoted to the Aeolian Pipe organ, I have several
podcasts.  The podcast 2 is changed from time to time, and the
Christmas music there has just been replaced with three examples of
music composed for the Aeolian Pipe Organ.  The Lemare roll used
is a [176-note] Duo-Art roll, but the other two are 116-note rolls
which I have upgraded into full Duo-Art coding.  Both of those took
considerable time to achieve an acceptable performance, as setting the
stops, adjusting the shutters, and changes in tempo require precise
insertion of codes to achieve satisfactory musical results.

I find the Moszkowski composition to be outstanding.  I first edited
it in 2005, but after gaining some additional experience, I have just
revised it during this holiday season.  If you are inclined to listen
to organ music, please visit the site at

  http://www.aeolianorgan.com/aeolian/Podcast_2/Podcast_2.html 

Happy new year all!

Bob Taylor