Yao and Artusio's Anesthesiology: Problem-Oriented Patient Management

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Post Date :Apr 03, 2012 21:05:05

Yao and Artusio's Anesthesiology: Problem-Oriented Patient Management

Yao and Artusio's Anesthesiology is one of the core texts for anesthesiology residents, and is frequently used as one of the primary study aids for the ABA oral boards. The book covers all areas of anesthesia. Each chapter is based on a case history and questions that address disease knowledge and differential diagnosis, progressing through preoperative evaluation, intraoperative management, and postoperative care. The discussion of each question is followed by a short list of the most important references on that topic. This edition's new full-color format significantly improves the readability of the book. Pediatric topics are grouped into a new section, rather than incorporated into the organ-based sections.

• Anesthesiology Oral Board Flash Cards
• Board Stiff: Preparation for Anesthesia Orals: Expert Consult - Online and Print, 3e (Book & DVD)
• Basics of Anesthesia: Expert Consult - Online and Print, 6e (Expert Consult Title: Online + Print)
• Anesthesia Secrets, 4e
• Stoelting's Anesthesia and Co-Existing Disease: Expert Consult - Online and Print, 5e (Expert Consult Title: Online + Print)

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Leopold Stokowski: The Stereo Collection 1954-1975

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Post Date : Mar 22, 2012 19:06:22

Leopold Stokowski: The Stereo Collection 1954-1975

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Complete Duo Recordings

!#8#Complete Duo Recordings

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Post Date : Mar 17, 2012 22:19:07
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Although Argerich has participated in numerous musical partnerships, not to mention her longtime mentoring of young artists, her associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist's most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order, allowing listeners the opportunity to trace each duo's evolution in terms of artistic rapport, sensitivity, risk-taking and the fine tuning of nuance.

Any discussion of Beethoven's violin sonatas (CDs 1, 4, 9 & 10) must address the fact that the composer did not designate these works as being "for violin and piano". For example, the first published edition of the "Spring" Sonata op. 24 from October 1801 reads "Sonate pour le Piano Forte," in large letters, followed in smaller print by "avec un Violon." Similarly, the title-page of the first edition of the "Kreutzer" Sonata op. 47 from April 1805 reads "Sonata per il Piano-forte ed un Violino obligato." None of this should be taken to mean that the violin writing plays "second fiddle" to the piano part, so to speak, but rather that both instruments carry equal weight within the musical discourse.

Argerich and Kremer understood this from the start of their recorded Beethoven encounters, originally intended as part of a series encompassing all the violin sonatas, the music for cello and piano with Maisky, plus the five piano concerti with Giuseppe Sinopoli and the Philharmonia Orchestra (in the end, Argerich and Sinopoli recorded only the First and Second Concertos). Initially Argerich expressed apprehension about recording Beethoven, lest her readings might sound self-conscious under the microphone's objective, unforgiving scrutiny. Yet, during an interview conducted prior to the cycle's final sessions, both Argerich and Kremer spoke of using the recording process to look for the unexpected. "It was an inspired idea to match (Argerich) against a violinist so unpredictable as she is herself," wrote Edward Greenfield in Gramophone, "for though there is nothing `safe' about these interpretations, and not everyone will respond to their sparkling, volatile qualities, the liveness of the experience is undeniable."

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