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The Dover Editions offer very affordable editions of some of the masterpieces of Classical music. In this way, the J.S. Bach Mass in B minor score is no exception. Offers alternate vocal part for the “Et in unum Dominum” duet. Plenty of room on the pages for notes, analytical comments, etc. Vocal parts are written in their respective clef as the score is taken from the Bach-Gesellschaft Edition. A must for any serious student of the music of J.S. Bach.

Review by Orvis M. Fuller:

For those thinking of purchasing this edition, keep in mind that like many Dover scores, this one uses C-cleff notation. I’m not sure if I am supposed to be reviewing the work, or the edition. But I assume it’s the edition, since nothing I say could possibly effect the way the music world’s opinion of the great B Binor Mass. Other than the cleffs and the small print, it’s a quality score.

Review by J. Brian Watkins:

Although I do not have a musicological background, I have loved the music of Bach for years and have read many of the extant biographies: Boyd, Wolff, Spitta, etc. Of all the biographies, I found Mr. Eidam’s to be the best at creating an understanding of the man who created such divine music without perpetuating myths or attempting to explain Bach’s personality based upon his musical art. Mr. Eidam admirably highlights the irony inherent in the fact that Bach produced such sublime art in the face of continual opposition from lesser intellects.I did not find the language of the english translation to be distracting and found the work to be refreshingly free of musical theory that while interesting does not increase one’s understanding of the man himself. Instead, the reader is left with a deep and abiding appreciation for Bach’s untiring efforts, in the face of incredible opposition, to share with the world a miraculous music that only he could hear.

Review by Mark Ringer:

This is the only biography of Bach to create a three dimensional figure out of him. Eidam’s style is engaging, lively and (despite the over finicky qualms of an earlier reviewer) splendidly translated. Eidam necessarily chides earlier scholarship which has tended to leech the humanity out of Bach’s story. He creates a portait built out of careful reading of sources, original scholarship, coupled with (and here lies Eidam’s real contribution) an intelligent understanding of artistic creativity and its endless struggle against bureaucracy; which lies at the core of Bach’s ‘passion’.

It is no exaggeration that virtually all other biographers over the years have tended to sympathize in some way with Bach’s tormentors: be they philistine provincial town councils, jealous colleagues, or bullying autocrats. Their message being that a genius of Bach’s stature should have exhibited Job-like patience when all of his artistic drives where being delibrately subverted. Most other biographies are so desperate to read him as a product of his time that they inadvertantly attempt to minimize his originality and unique voice. Eidam corrects these misconceptions. His description of Bach’s end and his widow’s struggles may well move the reader to tears. This comes from clear scholarship and good writing, as well as a unique, genuine sympathy with the subject of the biography. Bach deserves as much.

Review by Charles S. Houser:

How does one measure a musical composer’s thoughts and attitudes? When a composer does not provide the words to his own music, what are we to judge him by? And when the words are drawn from a sacred text or determined by a liturgical context? With a composer like Wagner who vehemently embraced a nationalistic gestalt, it is easy to understand the accusations of anti-Semitism. With Bach, it is less so.Consequently the brevity of Michael Marissen’s 36-page essay on the subject of anti-Judaism in Bach’s St. John Passion. Marissen’s methodology is to briefly examine the parts of John’s Gospel that have caused scholars to deem it the most anti-Judaic of the four canonical Gospels, to review the choral responses to the biblical texts in light of Lutheran theology as it would have been understood a century after the Reformer’s death (Bach owned many volumes of Luther’s writings as well as the Calov and Olearius Bible Commentaries), and to compare what Bach actually did with what he could have done (as evidenced by what other musicians did and by the approaches taken in such popular culture forms as the passion plays). Only rarely does Marissen turn to an analysis of the music to make his points. He does this in his discussion of cadence in relation to Jesus’ sense of his own identity (p. 12-14) and in his discussion as to whether Bach used fugue to express the obstinacy of Jesus’ Jewish adversaries (p.30 ff). Musical discussion within the text is keyed to the recording of Sigiswald Kuijken (editio classica 77041-2-RG, BMG Music), though an Appendix of Musical Examples lists seven other recordings of the work as well.The central essay is well argued and easy to follow. The footnotes are extensive and helpful, as is the list of Works Cited. The Annotated Literal Translation of the Libretto, which makes up the second half of the book, uses different type treatments to help the reader distinguish between Gospel text, chorale responses to the biblical narrative, and aria/arioso responses. The book also includes a 5-page Appendix on Anti-Judaism and Bach’s Other Works (namely, the Cantatas for the 10th Sunday after Trinity and the St. Matthew Passion).

Review by Excellence:

Open Seasons is one of those comics that is highly recommended reading. This is where you’ll find Jango Fett’s backstory, which seamlessly ties into what little is known of his cloned son Boba Fett, and his Jaster Mereel alto ego. The comic derives its name from the four issues subtitled after the four seasons of winter, spring, summer, fall, and provides reason for Montross’s animosity in the Bounty Hunter console game.The artwork here is just superb. Colours shine off the page, illustrations are depthful, more 3Dish than the standard fare you get, what more could you want? I strongly believe that comics, being the visual material they are, must have the best artwork possible, to show what a standard novel can only express in words. If that’s the case, Open Seasons is gold.The dialogue is up to par. Could have benefited with more humour, but the cast worked well for given characters. Then again, given the nature of the plot, too much would have detracted from the persona of Jango Fett.The storyline is your typical coming of age: peaceful youth avenging the death of parents and a shattered childhood, forged into one of the galaxy’s finest bounty hunters. The setting is soon after Phantom Menace, Dooku recounting to his master Sidious why Fett makes the ideal prime clone for their clandestine operations. It even provides some explanation for why Dooku himself–if you can believe the old man–broke from the Jedi Order.You see what Jango is made of here in the Galidraan debacle, where the Jedi and Mandalorians have it out. You’d get the impression the Jedi really are dependant on their saber sticks to be dangerous, as though that made any difference to the Fett. Does leaving you wondering in AOTC if script limitations hadn’t necessitated Mace Windu to survive Fett.Just a few trivialties here. Jango looks more lighter complexioned than he did on the screen. Without enough names in dialogue, it does make it challenging to identify your Mandalorian in near-identical uniforms. Most annoying, why do these people always have to be farmboys (Luke, Baron Fel, Jango, etc)? And the biggest one of all: at the end, when Jango flies across space to crash through a ship’s bridge viewports, in a vacuum without breathing or decompression?!Overall, with art quality and storyline this good, Open Seasons is one fine gift to get, and definitely worth getting.

Review by Z. Stern:

Possibly one of the best graphic novels I’ve ever read. Shows the story of how Jango’s family is killed and how he joined the Mandalorians. Excellent story (but it felt a little short) that explains alot about why Jango is who he is. Great pictures, dialogue, everything. A great read for Fett fans.