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Michelle's always nice, but she's even doing a good deed for snobby Rachel Tilly, which is tough. Her trying to be friendly backfires, when she learns the limelight she's giving Rachel will not earn Rachel thunderous aplpause, but uproarious laughter. Will Rachel wear the penguin suit. Can Michelle stop her from making a total fool of herself? Find out in this really funny book.

This book is filled with easy to read and easy to understand information on the most useful and most common homeopathic remedies --- tried and true.
Anyone interested in this subject should look no further ---- it's a complete and thorough source --- I highly recommend it!

I also highly recommend EVERYONE to investigate homeopathy as opposed to the Western medicine [allopathy] way of masking symptoms with drugs and medications whose side effects are worse than the problems they are intended to treat!

This is NOT quackery ---- but by definition, perhaps allopathy is ...

These adorable Peter Rabbit stickers are a must for any Peter Rabbit fan! Each sticker features a picture of one or more characters from the Peter Rabbit series of books. There are pictures of Peter Rabbit, the flopsy bunnies, Squirrel Nutkin and many others. Very cute. Great value for money.

This book gives the reader an accurate portrayal of law school and what lies ahead. The book does an excellent job of covering many different areas of law practice, such as litigation, corporate law, academia, etc. It also gets points for not sugar coating the truth, like many other books do. If you can find this before starting your path to a law career, by all means read it.

The thing that sets this book apart from most, and make it most effective, is that there are more photos and graphics than words. Most of us are visual learners and my knowledge of using Photoshop has dramatically improved in just a matter of an hour or so. I'm only to chapter 2. I recommend highly to anyone that wants to know how to use Adobe Photoshop CS 2 or CS 3 more effectively.

Liszt was the composer and pianist that modify the piano technique. He used the whole arm and the body as an alone thing and not only the fingers as it was before. His imense work for piano include various diferent styles of composition. Religious, Sinistre, Romantic, mistic, Religious, technical, trancedental, .... He was really the master of the piano and this full score of his concerts contains all the difficulties and the essence of the work of this wonderfull composer. Definitively Indispensable in music literature.

If the same standards are applied for the other two works in the "Complete Concerti for Piano" also issued by Dover (which I've as yet not seen), I'll regret not getting the latter volume (which has all three concerti the composer ever wrote for piano and orchestra)!! Outstanding in all events - easy to read, excellent for study and possible even to play from (though for practical purposes as a pianist, a 2-piano version {where the 2nd-piano is the reduction of the orchestral part} is eminently preferable) while remaining eminently scholarly. Most definitively GET IT!!!

if I recall Carter had written much of this while in West Berlin teaching some students, it follows the ;Double Concerto;(then subsequent equally powerful "Concerto for Orchestra") in some respects yet now projecting an unencumbered, an un- burdened free soloist. Carter said he merely wanted to write music he thought was interesting in the Sixties and so he could under the neo-liberal order.
This is a dark,thorny,fully impassioned work yet it allows "sunshine",reflection(s) inside the texture of things in density and timbre,and in complexity to come through.
The piano solo and the orchestra begin their arguments,their probings as equals, very democratic,very exciting,the incessant assymetrical rhythms and poly-rhythms between the soloist and the winds/ / /,the orcehstration is interesting for the piano seems to mimic or stay within identical registers to whomever else in the orcehstra is uttering a declamation or idle intervallic thought/ / / no shifting of emphasis and function, of tossing and relaying music materials between, in fact the orchestra comes to "freeze" itself, in contracting itself in compacted clusters,cecoming less free as the work progresses,this while the piano tries to find an expressive way out of this cul de sac and never really does, even resorting to now full brutal dialogue( in the ;second movement;), the piano comes to ask questions, while maintaining its full virtuoso flair and expressive demeanor never succombing to the torrent of timbre in the orchestral forces.High register winds, snarling brass come to help cadences of moments, and the piano plunges right in to help disrrupt anything that claimed to be "unifying".At times as well the piano shares particular register to augment/further an argument as the "basso" regions with low tom-toms and tympani; The work is incredibly compact/impacted within two movements (of 10 minutes and 12 and one half minutes) respectively.This structure seems to work much better than the more fragmented "Concerto for Orchestra" which seems to meander and finds itself without purpose as it progresses,at least to this listener. On paper,in score I suspect all Carter makes clarity an art of shape and tone of rhythmic dimensions.In the "Piano Concerto" however Carter allows interestingly enough the full basso timbres of the piano to come through,single tones,like revealing yet another aspect of a persona, another side to a facial contour never seen prior in time. This can and does halt the rhythmic momentum,going forward,it does and does not at times, the rather dense convoluted textures which he allows are present as a given, and Gielen and Oppens(in their recording) are incredible in the clarity they bring to this complex score by anyones definition.There is a timbral beauty in Carter if you know where to look.His music looks forward by looking backwards;this gives his music a real powerful agenda,in that we come to re-experience, the quasi-romantic/expressionist charms and arrogant expressions.
Arnold Hauser in one of his "histories" on the visual arts says someplace that the entire "romantic" constitution comes from the"anarchic", the exposed,the abandoned premise, the unencumbered, of a new class fettered no more and finding new freedoms in merchant capitalism within the 19th Century. Well Carter is a traditional/modernist but one whose affinity resorts to these romantic dimensions of expressions in that his creative pallette did not venture to far afield,the center of his creativity remains within a predictable consciousness. His music will never surprise you,or take you unawares of some dimension of what modernity can do, or should do.I think that this is part of its wide appeal, that within the the alienation schemes practiced within the modernist language in music, Carter's music is knowable, one can come to follow it without too much arduous exchange within one's psychology.
There are exposed solo lines as well in the winds and a solo violin a la Richard Strauss primarily in the ;second movement; the flute, and the "new" timbre (for its time) the Bass Clarinet;nice round tones allowed to pass the tyrannical gaze of the piano. The work as it progresses wants to end itself, it becomes somewhat neurotic in not discovering a resolution for itself.It works nonetheless much better than the "Concerto for Orcehstra".

its a good book, it was exactly what i was looking for. thank you

Excellent, recent edition of Gilbert and Sullivan's PIRATES of PENZANCE operetta available now. It is clear and easy to read and shows fine editorial work. I recommend it highly.