This text is not appropiate for any for introductory class to neuroscience at any level (whether grad or undergrad). The depth and detail leaves the reader confused at best. Perhaps it is suitable for an advanced gradute seeking to remedy any detail oriented holes. For all others, it is a precursor to a headache.
The smart money would go with the Kandel who clearly defines
his purpose at the outset of his classic book.
(I notice that the reviewer ,who bestowed the text 4 stars, and the author both call San Diego their home.)

Without reservation this is a fine recording; Michelangeli's is an act of God. A crude analogy would be as follows: the girl next door is pretty; the girl of one's dreams is the stuff of life. I urge you to not buy this recording! Buy the michelangeli recording on emi.

There is really little I can add to the previous reviews, with the exception of stradgirl's horrible review, other than that this the best currently available and will likely remain so. THe only drawback is the ADD sound, as this recording was made several years ago.

Judging from the review Mr. Distler wrote of Messuers Richter and Rashmet there is no doubt he skipped "Bach's development of transcendental harmony 101," at the music conservatory he attended (a big presumption on my part). The unorthodox combination of harpsicord and orchestral support of the piano -at least in this instance- is the apotheosis of eloquent ravishment: orchestral grandeur coupled with baroque charm achieves a restrained beauty. Style's justification for existence is to set the parameters of interprative liberties with regards to timbre and its relation to harmonic progressions (as style has little effect on melody). If there was any composer who had an understanding of transintrumental harmony to render style irrelevant it would be Bach. Which instruments were used to perform his music or their combination made little difference to him: he did not specify the instruments to be used for several of his works. Ultimately, vindication for Bach's power of counterpoint can be achieved only from the music itself, and this fine performance by Richter is a most worthy testimony.