I was invited to comment on this book, having been lucky enough to ride San Fernando at an Olmpic Games, and for him to be the Dressage Horse of the Year for 5 consecutive years at Wembley and to win the Hamburg Dressage Derby. Later I was appointed an F.E.I. O Judge, now retired.

Every aspect of this wonderfully presented book is excellent.

In his introduction, the highly respected Judge, Stephen Clarke writes that selecting the 10 riders and horses was a very difficult task. The decision not to include Adelinde Cornelissen and Jerich Parzival, who was the Gold Medal winner of the Grand Prix Special at the European Championships at Windsor, with Totilas and Edward Gal in Silver Medal position must have been one of the hardest.

The inclusion of a short section on FEI Ponies will inspire many young people and their trainers..

The format makes it very clear, both for occasional spectators and for the more technically involved reader. The name of each movement heads the page, followed by the Federation Equestre Internationale's Directive, describing what the horse and rider must show to merit Judges' marks of 10 " = excellent. This is followed be Stephen Clarke's illuminating comments and memories of judging the partnership selected to demonstrate this movement.in many comptitions, mentioning high points in the history of their career

In each case, the outstanding photograph on the opposite page is a delight, made more dramatic by the dark background, with all the emphasis on the horse and rider during the movement. I would like to express my admiration of these star photographers who have captured the artistic magic and the technical excellence of world-class dressage at its best in a split second.

The following page is written by the rider, including a list of selected memorable dates and highlights. Each rider explains their thinking, their philosophy of training and their system of "Warming Up" which may vary a little to suit the physique and temperament of the horse.

The trainer,on the next page, gives some details of their own competitive career and an insight into how they help the rider to develop the empathy between horse and rider which is so important. All the trainers expect the rider's position to be established and always in balance with their horse.in the movement.

This is followed by a section about this horse, its character, its strengths and its history from a young, uneducated horse to the star performer which it is today.

These three sections are illustrated with informal photographs, sometimes of important prizegivings, sometimes at home discussing things with the trainer, or praising the horse when leaving the arena.

The emphasis throughout this book, whether you are reading about a top Judge's point of view, or from the rider, or the trainer, irresspective of their nationality, is on their united desire for a partnership between horse and rider whose harmony is self-evident and which makes even the most difficult movements and transitions appear easy. This is only achieved with years of patient concentration and consistent training and Stephen is so right to explain that when, in spite of meticulous care, a horse has an accident, or colic, or a virus, it is indeed a tragedy for the rider who has given so much of themselves, - yes, and so much love and appreciation of the horse's generosity, - when it is lost.

Stephen's description of the Grand Prix Kur, or Free Style to Music as the "shop window" of competition dressage is very apt, as it has transformed dressage into an audience thriller. It was suggested by Wolfgang Niggli, who was Chairman of the F.E.I Dressage committee, for many years, who adapted the idea from his interest in figure skating. This, the deciding class for the individual Gold Medal at Olympic Games and World Cup, has inspired riders to choreograph a programme which, as long as it includes the required Grand Prix movements, can show their horse in extremely difficult transitions, with music chosen to enhance the rhythm of the paces. Apart from requiring 15 steps of piaffe straight and limiting canter pirouettes to two revolutions, the rules give the rider the freedom to perform movements at any point in the arena that they choose, and.most of them compose a fiendishly difficult and wonderfully artistic programme which can bring the spectators to their feet as the music ends with the final halt. Some past Kurs will live on in the memory of those of us lucky enough to have seen them.

This book will, I am sure, attract many more people into dressage, whether as spectators or themselves involved. I have thoroughly enjoyed reading it and congratulate all concerned.

Domini Morgan