Having heard Barenboim and Said interviewed on NPR I rushed to Amazon to acquire this book. I was not disppointed! These are highly literate men, wise men, who see music in a social context. Although their roots are Israeli and Palestinian, their exposure to other cultures has broadened their perspectives so that their opinions are informed by their experiences in Egypt, Argentina, America, Germany, Israel, etc. The continuing theme is music, especially that of Beethoven and later Wagner, but in the context of their societies and ours. It may be that the hope forpeace in the world is shared music!

If there is a book that presents valuable and valid lessons in how to resolve differences, be they in attitudes towards the arts, the lack of music in our educational system, the etiology of the Israeli/Palestinian dichotomy, and so much more, then this collection of conversations between Daniel Barenboim and Edward W. Said as edited and synthesized by Ara Guzelimian is it. This powerful but too brief book reaches for the Nobel Peace Prize in its courage, exploration of the state of man and the possibilities for the future, and in its tremendously accessible format that makes the workings of these three great minds available for us all. Each of the extended conversations taped betaween 1995 and 1999 addresses an interesting topic that serves to open vistas that go far beyond the crux of the topic. Hearing Barenboim expound on the fact that no one can exactly interpret a composer's score because the spirit is not on the page but in the making and experiencing the 'sound' that happens in a live performance rather obliterates all critics who descry individual interpretation of the great composers as "not the composer's intention!" Said carries this into the realm of literature, suggesting that contemporary writers are where they are because of the giants of the past and that we, as readers, are influenced in our interpretation of new work dependent upon our exposure and digestion of works by the old masters. Contemporary music by composers such as Carter, Schoenberg, and Birtwistle are discussed in a way that assists our concept of listening and learning in the concert hall. Similar parallels and similar paradoxes in the international political arena are given the same level of inspiring dialog and paths to understanding. This is a fine, fine book and we are indebted to Ara Guzelimian not only for his written and conversational contributions, but for persevering in having this volume published. Read this and gain insight and intelligence on many streams of thought that will help us all save this planet.

Mr. Sabor's historical commentary, list of leitmotiven and their appearances in the operas, and side comments cannot be equaled. This elegant set of books -- one for historical analysis, overview and performance practice of the entire cycle and one for each opera in the cycle -- is especially useful for Wagner beginners as well as seasoned musicologists. The translation of the libretti is beautifully poetic -- retaining much of Wagner's original alliteration and meter -- although it is not the most literal. (It could be used for singing if one was so inclined, and is a good deal better than most translations done for this purpose). I have used this set of books for a good deal of research on The Ring and usually need no others, although I do like to compare any translations with a more literal version, like the type usually found along with a recording. The discography/videography of the Ring is useful if not the most insightful. The substance, though, is most satisfactory, and at a reasonable price, too.

Listening to the Ring with Sabor's translations and comments is very pleasant. His English is beautiful and leitmotifs are all pointed out when they occur in the libretto. (of course the German is there to see as well.) Helpful comments about orchestration and interpretion enhance the experience. Summaries of plot and explanations of leitmotifs are presented at the beginning of each act as well as expanded within the text. A great way to get to know the Ring.

What a man to admire. We should all make a pilgrimage to Beyreuth to pay our lifetime respects to this great man.

This book intelligently presents the most important and interesting eye-witness accounts of the early Bayreuth festivals, by such musical luminaries as Tchaikovsky and Grieg, and a host of other interested observers. These documents, while often quoted, are hard to find, and are impossible to find in any other single source.

Be sure the check out Mark Twain's superbly satiric "At the Shrine of Saint Wagner," on his attempts to enjoy Parsifal in the hot, dusty town with few restaurants and fewer hotel rooms!

This is an excellent book, it really teaches you to pray. It's very informative and interesting and cool! I'm very glad I read this book, it has helped me a lot.

this has got to be one of the greatest operas of all time. dover's publication is neatly laid out and easy to follow. the paper and binding are good quality; i own many dover scores and they've all held up very well, even though i use them a lot.

'full score' means you get the music as it was written for every instrument (including vocals), just as the composer intended for it to be played, just as you would hear it performed live or on cd. a list of instruments is also included to give an idea of the massive orchestra that the work calls for. if you don't know german, you may want an english translation of the libretto (it's not translated here), and a good german to english dictionary, as wagner wrote his musical instructions (tempo, articulation)in german, rather than the usual italian.

for composers or music lovers, this is a great way to study orchestration and composition, right at the feet of one of the masters...

This is an immense work of Herculean intensity. At its worst this opera can be a little thick but even the worst music here is beautiful! The scoring is superb, the harmonies rich. This is the only part of The Ring to use a chorus. The first moments of the piece set the tone of apocalyptic drama.

It's a big work but once you get involved in the action (this takes a few seconds at most), the time flies by and before you know it, it is over. It is a great idea to equip oneself with the score for most productions as, unfortunately, there are very few good productions of this ever. It is a complicated score, exhausting and difficult to sing and interpret. A pity, for when Gotterdammerung is done right there are few things as powerful and beautiful in the world.

The College of Arms commissioned a series of 142 modeled and painted panels and shields in connection with the New York World's Fair of 1939, which were presented to the United States at the outbreak of the war. Most eventually went into storage at the Smithsonian until their resurrection in this volume on heraldic art. All are illustrated, described, and put into historical context, and they range in time from Simon de Montfort and "Strongbow" (Richard, Earl of Pembroke), through Cromwell and John Milton, to Cecil Rhodes and Ernest Rutherford.

This is, of course, an excellent resource for anyone studying music or specifically Wagnerian opera. It's a compact form of the score with a book binding, which makes it inadequate for bench-reading, but is nicely compact, making it ideal for private study. All of the instrument and lyrics, though, are in German, so one may need a bilingual Dictionary onhand if they are not proficient in German, though most of it is rather self-explanatory (Trumpeten = Trumpet, Violinen = Violin). The text is also rather small, which could make it harder to read for the poor-sighted. On the other hand, the print quality is far superior to what I had expected. From what I have seen so far, there isn't a single fading or printing error in the entire book (and I understand that these are printed from a very reliable source - .... I'm very happy with this purchase.