Viertes Quartett für 2 violinen, bratsche und violoncello, Werk. 42.

Mode of access: Internet.

II. Streichquartett. [music] : für zwei Violinen, Viola, Violoncello und (im 3. und 4. Satz: "Litanei" und "Entrückung", Gedichte von Stefan George) eine Sopranstimme, op. 10 /

Solo soprano added in 3 and 4 movements.

Führer durch die Literatur der Streichinstrumente (Violine, Viola, Violoncello)

"Bibliographischer Anhang": [206]-209.

Various choral works, with piano or organ.

German words.

Quartet no. 3, for piano, violin, viola and cello in C minor.

Mode of access: Internet.

Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire : op. 21 : für eine Sprechstimme, Klavier, Flöte (auch Piccolo), Klarinette (auch Bass-Klarinette), Geige (auch Bratsche), und Violoncello /

For narrator, flute (and piccolo), clarinet (and bass clarinet), violin (and viola), violoncello, and piano.

Organ repertoire : a book of pipe organ music for church and concert /

(cont.): Cradle song : berceuse / Walter Spinney -- Andantino from Fantasia in C minor / W.A. Mozart -- Marche de fête / Edgar A. Barrell -- Minster march : from Lohengrin / R. Wagner -- Sunrise : op. 7, no. 1 / Sigfrid Karg-Elert -- Song without words = Chant sans paroles : op. 2, no. 3 / P. Tschaikowsky -- Prayer on motives from R. Wagner's Lohengrin : op. 54 / B. Sulze -- Festal march : op. 67, no. 8 / E.R. Kroeger -- Christmas march / G. Merkel -- Duke Street : postlude II / Geo. E. Whiting -- Canzonetta from the Raymond overture / A. Thomas -- Anniversary march : introducing Auld lang syne : op. 10 / J. Lawrence Ebb -- Two cradle songs = Zwei Wiegenliedchen / Herbert Botting -- Minuet from the overture to Berenice / G.F. Handel -- Funeral march = Marche funèbre : op. 35 / Franz Chopin -- March in B♭ / Wm. Faulkes -- The Son of God goes forth to war : postlude VI / Geo. E. Whiting -- Nocturne des anges : op. 18, no. 1 / George F. Vincent -- Hosanna! / Paul Wachs -- Roumanian bridal march / Herbert W. Wareing.

Violoncello recital

Program: Passacaglia for Violin and Cello ........... Johan Halvorsen (1864-1935) Cello Concerto in E minor Op. 85 .............. Edward Elgar (1857-1934) Sonata for Cello and Piano Op. 38 .......... Johannes Brahms (1833-1897)

Tracing Beethoven Through the Ten Sonatas for Piano and Violin

Examination of Beethoven’s ten sonatas for piano and violin as a single arc, to uncover linkages between the individual sonatas and observe their stylistic evolution as a set, benefits from placing these works also in relation to the wider realm of Beethoven’s chamber music as a whole. During the years in which his sonatas for piano and violin were written, Beethoven often produced multiple works simultaneously. In fact, the first nine sonatas for piano and violin were written within a mere five-year span (1798 – 1803.) After a gap of nine years, Beethoven completed his tenth and final sonata, marking the end of his “Middle Period.” Because of this distribution, it is important to consider each of these sonatas not only as an interdependent set, but also in relation to the whole of Beethoven’s output for small ensemble. Beethoven wrote the last of his piano and violin sonatas in 1812, with a decade and a half of innovation still ahead of him. This provokes one to look beyond these sonatas to discover the final incarnation of the ideas introduced in these works. In particular, the key creative turning points within the ten sonatas for piano and violin become strikingly apparent when compared to Beethoven’s string quartets, which dramatically showcase Beethoven’s evolution in sixteen works distributed more or less evenly across his career. From the perspective of a string quartet player, studying the ten sonatas for piano and violin provides an opportunity to note similarities between the genres. This paper argues that examining the ten sonatas from a viewpoint primarily informed by Beethoven’s string quartets yields a more thorough understanding of the sonatas themselves and a broader conception of the vast network of interrelationships that produce Beethoven’s definitive voice. The body of this paper contains a full exploration of each of the ten sonatas for piano and violin, highlighting key musical, historical, and theoretical elements. Each of the sonatas is then put not only in context of the set of ten, but is contrasted with Beethoven’s sixteen string quartets, identifying unifying motives, techniques, and structural principles that recur across both bodies of work.

Contrasts: Quartets and Art Songs of the Nineteenth Century

The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Deregulation Of Adipokines Related To Target Organ Damage On Resistant Hypertension.

Resistant hypertension (RHTN) includes patients with controlled blood pressure (BP) (CRHTN) and uncontrolled BP (UCRHTN). In fact, RHTN patients are more likely to have target organ damage (TOD), and resistin, leptin and adiponectin may affect BP control in these subjects. We assessed the relationship between adipokines levels and arterial stiffness, left ventricular hypertrophy (LVH) and microalbuminuria (MA). This cross-sectional study included CRHTN (n=51) and UCRHTN (n=38) patients for evaluating body mass index, ambulatory blood pressure monitoring, plasma adiponectin, leptin and resistin concentrations, pulse wave velocity (PWV), MA and echocardiography. Leptin and resistin levels were higher in UCRHTN, whereas adiponectin levels were lower in this same subgroup. Similarly, arterial stiffness, LVH and MA were higher in UCRHTN subgroup. Adiponectin levels negatively correlated with PWV (r=-0.42, P<0.01), and MA (r=-0.48, P<0.01) only in UCRHTN. Leptin was positively correlated with PWV (r=0.37, P=0.02) in UCRHTN subgroup, whereas resistin was not correlated with TOD in both subgroups. Adiponectin is associated with arterial stiffness and renal injury in UCRHTN patients, whereas leptin is associated with arterial stiffness in the same subgroup. Taken together, our results showed that those adipokines may contribute to vascular and renal damage in UCRHTN patients.

Gene expression down-regulation in CD90(+) prostate tumor-associated stromal cells involves potential organ-specific genes

Background: The prostate stroma is a key mediator of epithelial differentiation and development, and potentially plays a role in the initiation and progression of prostate cancer. The tumor-associated stroma is marked by increased expression of CD90/THYI. Isolation and characterization of these stromal cells could provide valuable insight into the biology of the tumor microenvironment. Methods: Prostate CD90(+) stromal fibromuscular cells from tumor specimens were isolated by cell-sorting and analyzed by DNA microarray. Dataset analysis was used to compare gene expression between histologically normal and tumor-associated stromal cells. For comparison, stromal cells were also isolated and analyzed from the urinary bladder. Results: The tumor-associated stromal cells were found to have decreased expression of genes involved in smooth muscle differentiation, and those detected in prostate but not bladder. Other differential expression between the stromal cell types included that of the CXC-chemokine genes. Conclusion: CD90(+) prostate tumor-associated stromal cells differed from their normal counterpart in expression of multiple genes, some of which are potentially involved in organ development.

Organ donation: Acceptance and refusal among users of the public health system from Brazil

The present study sought to identify the perception of a given group of users of the Brazilian Public Health System (Sistema Unico de Saude) regarding organ donation and to implement an educational policy. Structured interviews were conducted with the aim of describing the profile of donor and nondonor subjects, the importance of organ donation, and the knowledge regarding donation and brain death. One hundred subjects were interviewed: 33% of them considered themselves potential donors; 40% were donors; 13% were nondonors; and 14% were ill-informed potential donors. However, only 40% of users have already officially expressed to their families a willingness to donate. Regarding their knowledge about the propitious moment for organ donation, only 64% of them associated the donation act with brain death. Although the present results revealed that users of the Brazilian Public Health System are prone to organ donation, there actually was a high amount of refusals, which may be due to lack of information and knowledge regarding the donation-transplantation process.

Modeling of hepatic elimination and organ distribution kinetics with the extended convection-dispersion model

The conventional convection-dispersion (also called axial dispersion) model is widely used to interrelate hepatic availability (F) and clearance (Cl) with the morphology and physiology of the liver and to predict effects such as changes in liver blood flow on F and Cl. An extended form of the convection-dispersion model has been developed to adequately describe the outflow concentration-time profiles for vascular markers at both short and long times after bolus injections into perfused livers. The model, based on flux concentration and a convolution of catheters and large vessels, assumes that solute elimination in hepatocytes follows either fast distribution into or radial diffusion in hepatocytes. The model includes a secondary vascular compartment, postulated to be interconnecting sinusoids. Analysis of the mean hepatic transit time (MTT) and normalized variance (CV2) of solutes with extraction showed that the discrepancy between the predictions of MTT and CV2 for the extended and conventional models are essentially identical irrespective of the magnitude of rate constants representing permeability, volume, and clearance parameters, providing that there is significant hepatic extraction. In conclusion, the application of a newly developed extended convection-dispersion model has shown that the unweighted conventional convection-dispersion model can be used to describe the disposition of extracted solutes and, in particular, to estimate hepatic availability and clearance in booth experimental and clinical situations.