Michael Alexander The Excel Analysts Guide To Access Wiley 2010 | 8.86 MB
N/A | 627 Pages

Title: The Excel Analyst's Guide to Access.
Author: Michael Alexander
Year: N/A

Other Halves by Nick Alexander | 2.36 MB
English | 265 Pages

Title: [Hannah 02] • Other Halves
Author: Alexander, Nick
Year: 2013

Pianos and Flowers Alexander McCall Smith | 19.11 MB
English | N/A Pages

Title: Pianos and Flowers
Author: Alexander McCall Smith
Year: N/A

Mr Spreadsheets Bookshelf Michael Alexander Excel Dashboards And Reports Wiley 2013 | 35.03 MB
N/A | 433 Pages

Title: Excel® Dashboards and Reports, 2nd Edition
Author: Alexander, Michael
Year: N/A

Alexander J Motyl Encyclopedia Of Nationalism Two Volume Set Vol Ii Academic Press 2000 | 4.44 MB
English | 621 Pages

Title: Encyclopedia of Nationalism, Two-Volume Set
Author: Alexander J. Motyl
Year: 2000

Vacancy by K R Alexander | 1.3 MB
English | 150 Pages

Title: Vacancy
Author: K. R. Alexander
Year: 2021

The Federalist Papers by Alexander Hamilton | 1.27 MB
English | 442 Pages

Title: The Federalist papers
Author: Alexander Hamilton, James Madison, John Jay, Lawrence Goldman
Year: 2015

English | ASIN: B078MM7N57 | 2018 | 3 hours and 54 minutes |MP3 | M4B | 108 MB
The America that Alexander Hamilton knew was largely agricultural and built on slave labor. He envisioned something else: a multi-racial, urbanized, capitalistic America with a strong central government. He believed that such an America would be a land of opportunity for the poor and the newcomers. But Hamilton's vision put him at odds with his archrivals who envisioned a pastoral America of small towns, where governments were local, states would control their own destiny, and the federal government would remain small and weak.

Stalin's Agent: The Life and Death of Alexander Orlov By Boris Volodarsky
2015 | 784 Pages | ISBN: 0199656584 | PDF | 7 MB
This is the history of an unprecedented deception operation - the biggest KGB deception of all time. It has never been told in full until now. General Alexander Orlov, Stalin's most loyal and trusted henchman during the Spanish Civil War, was also the Soviet handler controlling Kim Philby, the British spy, defector, and member of the notorious 'Cambridge Five'. Escaping Stalin's purges, Orlov fled to America in the late 1930s and lived underground. He only dared reveal his identity to the world after Stalin's death, in his 1953 best-seller The Secret History of Stalin's Crimes, after which he became perhaps the best known of all Soviet defectors, much written about, highly praised, and commemorated by the US Congress on his death in 1973.But there is a twist in the Orlov story beyond the dreams of even the most ingenious spy novelist: General Alexander Orlov never actually existed. The man known as Orlov was in fact born Leiba Feldbin. And while he was a loyal servant of Stalin and the controller of Philby, he was never a General in the KGB, never truly defected to the West after his flight from the USSR, and remained a loyal Soviet agent until his death. The Orlov story as it has been accepted until now was largely the invention of the KGB - and one perpetuated long after the end of the Cold War. In this meticulous new biography, Boris Volodarsky, himself a former Soviet intelligence officer, now tells the true story behind Orlov for the first time. An intriguing tale of Russian espionage and deception, stretching from the time of Lenin to the Putin era, this is a story that will send shockwaves through the world's intelligence agencies.

The Performing Style of Alexander Scriabin By Anatole Leikin
2011 | 312 Pages | ISBN: 0754660214 | PDF | 15 MB
When Alexander Nikolayevich Scriabin's music was performed during his lifetime, it always elicited ecstatic responses from the listeners. Wilhelm Gericke, conductor of the Vienna opera, rushed backstage after one of Scriabin's concerts and fell on his knees crying, 'It's genius, it's genius...'. After the composer's death in 1915, however, his music steadily lost the captivating appeal it once held. The main reason for this drastic change in the listeners' attitude is an enormous gap existing between the printed scores of Scriabin's music and the way the composer himself played his works. Apparently, what Scriabin's audiences heard at the time was significantly different from, and vastly superior to, modern performances that are based primarily on published scores. Scriabin recorded nineteen of his compositions on the Hupfeld and Welte-Mignon reproducing pianos in 1908 and 1910, respectively. Full score transcriptions of the piano rolls, which are included in the book, provide many substantial features of Scriabin's performance: exact pitches and their timing against each other, rhythms, tempo fluctuations, articulation, dynamics and essential pedal application. Using these transcriptions and other historical documents as the groundwork for his research, Anatole Leikin explores Scriabin's performing style within the broader context of Romantic performance practice.