From Publishers Weekly
In this lively history of the pipe organ in America, Whitney, assistant managing editor of the New York Times and an amateur organist, weaves a tale of opposing ideas and colorful personalities. Pipe organs in this country were built much as they had been for centuries in Europe until the early 20th century, when Ernest Skinner electrified their mechanical parts, thus enabling them to produce massive sound that could fill theaters and concert halls. In the 1930s, Skinner's ideas were challenged by one of his associates, G. Donald Harrison, who advocated a return to organs built with mechanical action. Harrison prevailed, and eventually Skinner was driven out of the company he had founded. Mirroring the story of the contest between Skinner and Harrison is Whitney's account of the rivalry between two of the best-known organists of the mid- 20th century Virgil Fox, the flamboyant showman who developed a cult following with performances on electronic organs (without pipes) in rock concert halls, and the more reserved but equally popular E. Power Biggs, who agreed with Harrison's philosophy. In the 1960s and '70s, Charles B. Fisk devised a way to build mechanical-action organs that could produce rich, full-bodied sounds as well as the bright, crisp sounds appropriate for German baroque music. Whitney (Spy Trader) admits that many important American organ builders and performers are left out of his history. But by concentrating on a few outstanding personalities and the organs they built or played on, he presents an engrossing story that should help fuel the resurgence of interest in the organ in this country. Photos not seen by PW. Copyright 2003 Reed Business Information, Inc.


The New York Times Book Review
"Enthralling reading."


Baltimore Sun
"Whitney's All the Stops is superb. From any perspective, musician or novice, this book is informative, well-written and downright fun."

FROM THE PUBLISHER

From the mid-19th to the mid-20th century, organ music was wildly popular in America. Organ builders could hardly fill the huge demand for both concert hall and home organs. Organ players developed cult followings and bitter rivalries. One movement arose to restore to American organs the tonal clarity and precision that instruments of the baroque period had, while another took electronic organs to rock concert halls, where younger listeners could be found.In his critically acclaimed book, New York Times journalist and editor - and passionate amateur organist - Craig Whitney brings the colorful history of the American pipe organ to life.