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Clinical Pancreatology For Practising Gastroenterologists and Surgeons 2E May 24 2021 - 1119570077 - Wiley Blackwell Juan Enrique Dominguez Munoz Full Chapter
Clinical Pancreatology For Practising Gastroenterologists and Surgeons 2E May 24 2021 - 1119570077 - Wiley Blackwell Juan Enrique Dominguez Munoz Full Chapter
Second Edition
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10 9 8 7 6 5 4 3 2 1
v
Contents
Contributors xxxiii
Foreword xlvi
Preface xlvii
Dedication xlviii
2 How to Deal with the Etiological Diagnosis of Acute Pancreatitis in Clinical Practice? 17
Soumya Jagannath and Pramod Kumar Garg
Introduction 17
Etiological Diagnosis 17
Gallstone-induced Pancreatitis 17
Microlithiasis 18
Alcoholic Pancreatitis 19
Drug-induced Pancreatitis 19
Other Etiological Diagnoses of Acute Pancreatitis 19
Hypercalcemia 19
Hypertriglyceridemia 19
Smoking 19
Type 2 Diabetes Mellitus 19
Pancreatobiliary Tumors 20
Post-ERCP Pancreatitis 20
Single and Double Balloon Enteroscopy 20
Congenital Anomalies 20
Idiopathic Acute Pancreatitis 21
vi Contents
I nvestigative Work-up 21
Concluding Remarks 22
References 22
4 Early Prediction of Severity in Acute Pancreatitis: What can be Done in Clinical Practice? 31
Peter J. Lee and Georgios I. Papachristou
Introduction 31
Available Prediction Tools 31
Volume Deficit 31
Inflammatory Response 33
Host-related Characteristics 33
Age and Comorbidity Burden 33
Obesity and Hypertriglyceridemia 33
Degree of Parenchymal and Extra-parenchymal Injury 34
Scoring Systems 34
Limitations and Future of Current Scoring Systems and Predictive Markers 35
Artificial Intelligence and Biomarkers: the Future? 35
References 36
6 Role of MRI in Acute Pancreatitis: When is it Indicated and What Information can be Obtained? 47
Fatih Akisik
Introduction 47
MRI and MRCP Protocol for Pancreas Examination 47
Interstitial Edematous Pancreatitis 48
Necrotizing Pancreatitis 48
Complications of Acute Pancreatitis 50
Fluid Collections 50
Acute Peripancreatic Fluid Collection 50
Acute Necrotic Collection 50
Pseudocyst 50
Walled-off Necrosis 50
Vascular Complications 50
References 51
8 Acute Pancreatitis: A Practical Guideline for the Monitoring and Treatment of Systemic Complications 59
Enrique de Madaria and Felix Zubia-Olaskoaga
Introduction 59
Acute Pancreatitis and Systemic Complications: Definitions, Importance, and Incidence 59
Monitoring Respiratory Function and Management of Respiratory Failure 60
Shock: Volume Management and Hemodynamic Monitoring 60
Acute Renal Failure: Early Detection and Management 61
Other Systemic Complications Associated with Acute Pancreatitis 62
Hypocalcemia 62
Disseminated Intravascular Coagulation 62
Gastrointestinal Bleeding 62
Pancreatic Encephalopathy and Posterior Reversible Encephalopathy Syndrome 62
Abdominal Compartment Syndrome 63
References 63
ocal Anesthetics 69
L
Summary 70
References 70
10 Nutrition in the Acute Phase of Pancreatitis: Why, When, How and How Long? 72
Angela Pham and Chris E. Forsmark
Why 72
When 73
How 73
What to Feed 75
References 75
12 Pharmacological Therapy for Acute Pancreatitis: Any Light at the End of the Tunnel? 83
Rajarshi Mukherjee, Muhammad Awais, Wenhao Cai, Wei Huang, Peter Szatmary, and Robert Sutton
Introduction 83
Calcium Toxicity 84
Mitochondrial Dysfunction 84
Autophagy 86
Acinar Cell Secretion, Serine Proteases, and Serine Protein Kinases 86
Immune Cells/Inflammation 87
CFTR 89
Design of Future Clinical Trials 89
Conclusion 89
References 90
16 Endoscopic Necrosectomy in Clinical Practice: Indications, Technical Issues and Optimal Timing 113
Jodie A. Barkin and Andres Gelrud
Introduction 113
Management of Symptomatic Pseudocysts 114
Management of Symptomatic Walled-off Necrosis 114
Indications and Timing for Intervention 114
Choosing the Best Interventional Option: the Step-up Approach 115
Methods of Endoscopic Necrosectomy and Stent Choice 116
Conclusion 117
References 118
17 Management of Acute Pancreatic Pseudocyst: When to Observe, When and How to Drain? 120
Muhammad F. Dawwas and Kofi W. Oppong
Introduction 120
Evaluation 120
Drainage Therapy 122
Disconnected Pancreatic Duct Syndrome 124
Complications 124
Conclusion 124
References 125
18 The Disconnected Main Pancreatic Duct Syndrome: How to Proceed in Clinical Practice? 126
Mario Peláez-Luna, Andrea Soriano-Ríos, and Luis Uscanga-Dominguez
Introduction 126
Epidemiology 126
Risk Factors and Predictors of DPDS 126
Clinical Significance 126
Clinical Presentation 127
Diagnosis 127
Treatment 128
Conclusions 129
References 130
Screening 133
Splenic Vein Thrombosis 133
Portal Vein Thrombosis 133
Management of Visceral Vein Thrombosis 134
Anticoagulation 134
Surgical Management 135
Miscellaneous Venous Complications 135
Bowel Wall Ischemia 135
Portal Vein–Pseudocyst Fistula 135
Arterial Complications 135
Pseudoaneurysm 135
Pseudoaneurysm and Risk of Rupture 136
Hemosuccus Pancreaticus 137
Imaging of Pseudoaneurysm or Potential Hemorrhage 137
Ruptured Pseudoaneurysm Management 138
Summary 138
References 138
21 Diagnosis and Therapeutic Approach to Pancreatic Exocrine Insufficiency after Acute Pancreatitis 151
Hester C. Timmerhuis, Christa J. Sperna Weiland, and Hjalmar C. van Santvoort
Introduction 151
Symptoms 151
Diagnosis 152
Management 152
Summary 154
References 155
22 Asymptomatic Chronic Elevation of Serum Pancreatic Enzymes: How to Deal with It? 158
Giuseppe Vanella, Paolo Giorgio Arcidiacono, and Gabriele Capurso
Introduction 158
Physiology of Pancreatic Enzymes 158
Pancreatic Abnormalities in Patients with Pancreatic Hyperenzymemia 158
Pancreatic Hyperenzymemia: A Clue to Malignancy? 160
Pancreatic Abnormalities at Second-level Imaging 160
Gastrointestinal Diseases and Pancreatic Hyperenzymemia 160
Inflammatory Bowel Disease 160
Celiac Disease 160
Liver Disease 161
Others 161
Contents xi
acroenzymemia 161
M
Systemic Conditions Associated with Hyperenzymemia 161
Familial Aggregation and Genetics 161
Drug-induced Hyperenzymemia 161
Extrapancreatic Abnormalities in Patients with Hyperenzymemia 162
Salivary Gland Diseases 162
Renal Insufficiency 162
Hyperenzymemia and Cancers 162
Eating Disorders 162
Others 162
Benign Pancreatic Hyperenzymemia (Gullo Syndrome) 163
Clinical Features 163
Physiopathology 163
Algorithm for Management of CAPH (Figure 22.2) 163
Clinical History and Laboratory Evaluation 163
Isolated Hyperamylasemia 164
Pancreatic Hyperamylasemia and/or Hyperlipasemia 165
Conclusions 165
References 165
23 Definition and Etiology of Chronic Pancreatitis: What is Relevant for Clinical Practice? 171
David C. Whitcomb
Definition of Key Terms and Concepts 171
Dysfunction 171
Disorder 171
Disease 171
Syndrome 172
Diagnosis 172
Differential Diagnosis 172
Risk Factor 172
Etiology 172
Biomarkers 172
Modern Western Medicine 174
Precision Medicine 174
Traditional Definitions of Chronic Pancreatitis 174
Mechanistic Definition of Chronic Pancreatitis 174
Progressive Model of CP 175
Risk Factors and Etiologies 175
Pathogenic Genetic Mutations 176
Genetic Risk Factors 176
Subtypes of Inflammatory Diseases of the Pancreas 176
Acute Pancreatitis 176
Recurrent Acute Pancreatitis 177
Hereditary Pancreatitis 177
Familial Pancreatitis 177
Tropical Pancreatitis 177
Mendelian Syndromes Involving the Pancreas 177
Complex Pancreatic Disorders 177
Minimal Change Chronic Pancreatitis 177
References 177
xii Contents
25 Alcoholic Chronic Pancreatitis and the Impact of Alcohol and Smoking Cessation in Chronic Pancreatitis 185
Jeremy S. Wilson, Romano C. Pirola, and Minoti V. Apte
Introduction 185
Epidemiology 185
Direct Cellular Effects of Alcohol on the Pancreas 185
Metabolism of Alcohol by the Pancreas 185
Effects of Ethanol on Pancreatic Acinar Cells 186
Effects of Ethanol on Pancreatic Stellate Cells 187
Effects of Ethanol on Pancreatic Duct Cells 187
Individual Susceptibility to Alcoholic Pancreatitis 187
Impact of Alcohol and Smoking Cessation 188
Summary 189
References 189
26 What is Relevant on Genetics in Chronic Pancreatitis for Clinical Practice? What Genes and When to Evaluate
Them? 193
Jonas Rosendahl
I ntroduction 193
How to Screen 193
Probability of Identifying Genetic Variants in CP Patients 193
Which Genes are Clinically Relevant? 193
Screening for Cystic Fibrosis Transmembrane Conductance Regulator Gene Variants 195
What to do When a Variant has been Identified? 195
Increased Risk for Pancreatic Cancer in Chronic Pancreatitis Patients 195
How can Genetic Association Studies Change our Clinical Practice? 196
References 196
28 What to do in Clinical Practice Before Defining a Chronic Pancreatitis as Idiopathic? A Practical Protocol 208
Felix Lämmerhirt, Frank Ulrich Weiss, and Markus M. Lerch
Introduction 208
Etiologies of Chronic Pancreatitis 208
Alcoholic Chronic Pancreatitis 208
Hypertriglyceridemia-induced Chronic Pancreatitis 209
Hypercalcemia-induced Chronic Pancreatitis 209
Autoimmune Chronic Pancreatitis 209
Genetic Risk Factors and Hereditary Chronic Pancreatitis 210
Rare Causes of Chronic Pancreatitis 210
How to Classify Chronic Pancreatitis as Idiopathic 210
Diagnostic Approach 210
Anamnestic Investigation and Physical Examination 211
Laboratory Chemistry 211
Basic Laboratory Tests 211
Specific Tests to Address the Underlying Etiology of CP 212
Genetic Testing 212
Imaging Techniques 212
Transabdominal Ultrasound 212
Endoscopic Ultrasound 213
Endoscopic Retrograde Cholangiopancreatography 214
Computed Tomography and Magnetic Resonance Imaging 214
Conclusion 214
References 215
29 Computed Tomography for the Diagnosis, Evaluation of Severity, and Detection of Complications of Chronic
Pancreatitis in Clinical Practice 218
Roberto García-Figueiras, Sandra Baleato-González, and Gonzalo Tardáguila de la Fuente
Introduction 218
Conventional CT in the Evaluation of Chronic Pancreatitis 218
Chronic Calcifying Pancreatitis 218
Chronic Obstructive Pancreatitis 219
Groove Pancreatitis 221
Autoimmune Pancreatitis 221
Complications Associated with Chronic Pancreatitis 221
Advanced CT Techniques 221
CT Volumetry and Assessment of Pancreatic Attenuation 221
Dual-energy or Spectral CT 222
Perfusion CT 222
Future Challenges in CT Imaging 223
Conclusion 224
References 224
xiv Contents
30 Role of MRI and MRCP in the Diagnosis, Evaluation of Severity, and Detection of Complications of Chronic
Pancreatitis in Clinical Practice 227
Jordan K. Swensson and Temel Tirkes
Introduction 227
Diagnosis 227
Severity 229
Complications 230
Conclusion 230
References 231
31 Role of Endoscopic Ultrasound and Associated Methods (Elastography, Contrast Enhancement) in the Diagnosis,
Evaluation of Severity, and Detection of Complications of Chronic Pancreatitis in Clinical Practice 233
Julio Iglesias-Garcia
Introduction 233
EUS in the Diagnosis of Chronic Pancreatitis 233
Standard EUS for the Diagnosis of Chronic Pancreatitis 233
Advanced EUS for the Diagnosis of Chronic Pancreatitis 236
EUS plus Endoscopic Pancreatic Function Test 236
EUS-guided Elastography and Contrast Enhancement 237
EUS-guided Tissue Acquisition 237
EUS for the Evaluation of Complications of Chronic Pancreatitis 238
EUS for Evaluating the Presence of Pancreatic Exocrine Insufficiency 238
EUS for the Detection of Pancreatic Malignancy in Chronic Pancreatitis 239
EUS-guided Tissue Acquisition 239
EUS-guided Elastography and CEH-EUS 239
Conclusions 240
References 240
32 Endoscopic Pancreatic Function Test for the Functional Diagnosis of Chronic Pancreatitis:
Indications and Practical Protocol 243
Luis F. Lara and Darwin L. Conwell
Introduction 243
History of Pancreas Function Tests 243
Pancreas Function Tests 244
Endoscopic Pancreas Function Tests 245
Pancreatic Function Test Performance 245
Abridged ePFT 246
Concerns Regarding Pancreatic Function Tests 246
Indications for ePFT 246
Practical Protocol 247
Conclusions 247
References 248
33 Role of Pancreatic Function Tests for the Diagnosis of Chronic Pancreatitis: Which Tests and How
Should they be Performed in Clinical Practice? 250
J. Enrique Domínguez-Muñoz
Introduction 250
Pancreatic Function Tests for the Diagnosis of Chronic Pancreatitis in Patients with Inconclusive Imaging
Findings 251
How to Perform the Secretin–CCK (Cerulein) Test 251
How to Perform the Endoscopic Pancreatic Function Test 252
Evaluation of Pancreatic Function as Screening Test for Patients with Clinical Symptoms Suggestive of Chronic
Pancreatitis 252
Contents xv
34 Follow-up of Patients with Chronic Pancreatitis in Clinical Practice: How and What for? 255
Antonio Mendoza-Ladd, Luis F. Lara, and Darwin L. Conwell
Introduction 255
Pain 255
Mechanical Obstruction 255
Neurogenic 255
Pancreatic Enzyme Replacement Therapy 255
Antioxidants 256
Analgesics 256
Endoscopic Therapy 256
Surgery 256
Nutritional Deficiencies 257
Diabetes 258
Exocrine Insufficiency 258
Functional Tests 258
Direct Tests 258
Indirect tests 258
Management of EPI 259
Final Considerations 259
Conclusion 260
References 260
36 Medical Treatment of Pain in Chronic Pancreatitis: Guidelines for Clinical Practice 273
Asbjørn Mohr Drewes, Louise Kuhlman, Trine Andresen, and Søren Schou Olesen
Introduction 273
Pathogenesis of Pain 273
xvi Contents
37 Endoscopic Treatment of Pain in Chronic Pancreatitis: Indications, Optimal Timing, and Technical Aspects 283
Pauline M. C. Stassen, Pieter J. F. de Jonge, Jan-Werner Poley, Djuna L. Cahen, and Marco .J. Bruno
Introduction 283
Selecting the Right Patient for Endoscopic Therapy: Who and When? 283
Factors Predictive of Clinical Success 283
Optimal Timing and Treatment Choice 284
Treatment of Pancreatic Duct Stones 284
Extracorporeal Shock-wave Lithotripsy 284
Technical Aspects 284
Effectiveness and Safety 285
Pancreatoscopy-guided Lithotripsy 285
Technical Aspects 285
Effectiveness and Safety 286
Treatment of Pancreatic Duct Strictures 286
Technical Aspects 286
Effectiveness and Safety 287
EUS-guided Pancreaticogastrostomy 287
Technical Aspects 287
Effectiveness and Safety 287
Celiac Plexus Block 288
Technical Aspects 288
Effectiveness and Safety 288
Summary 288
References 288
Aims 297
Administration 297
Correct Starting Dose 297
Efficacy 297
Unsatisfactory Response 297
Prevention and Prognosis 298
References 298
39 Surgical Treatment of Pain in Chronic Pancreatitis: Indications, Optimal Timing and Technical Approaches 301
Benjamin P.T. Loveday and John A. Windsor
Introduction 301
Indications and Contraindications for Surgical Treatment 301
Diagnostic Work-up 302
Optimal Timing 302
Clinical Considerations in Selecting the Surgical Approach 303
Technical Approaches 303
Drainage Procedures 303
Longitudinal Pancreaticojejunostomy (Partington–Rochelle or Puestow) 303
Combined Drainage and Resection Procedures 307
Duodenum-preserving Pancreatic Head Resection with End-to-end Pancreaticojejunostomy (Beger) 307
Berne Modification of the Duodenum-preserving Pancreatic Head Resection with End-to-end
Pancreaticojejunostomy 307
Local Resection of the Pancreatic Head with Longitudinal Pancreaticojejunostomy (Frey) 307
The “Hamburg” Modification to the Frey Procedure 307
Resection Procedures 307
Pancreaticoduodenectomy (Whipple) 307
Distal Pancreatectomy (with or without Spleen Preservation) 307
Total Pancreatectomy (with or without Spleen Preservation) 307
Total Pancreatectomy with Islet Autotransplantation 308
Denervation Procedures 308
Celiac Plexus Block 308
Sympathectomy 308
Tips and Tricks for Surgical Interventions 308
Outcomes and Quality of Life after Surgery 308
Follow-up 309
Conclusion 309
References 309
40 Management of Chronic Pancreatic Pseudocyst: When to Observe, When and How to Drain? 314
Shyam Varadarajulu
Introduction 314
Definition of Pseudocyst 314
When to Observe or Drain 314
Important Preprocedure Considerations 315
Procedural Technique: How to Drain 315
Conventional Transmural Drainage 315
EUS-guided Drainage 317
Multistep Technique Using Plastic Stents 317
Single-step Technique Using LAMS 317
Special Considerations 317
Disconnected Pancreatic Duct Syndrome 317
Ductal Communication with Pseudocyst 318
Multiple Pseudocysts 319
xviii Contents
Indications 339
Technical Approaches 339
Surgical Therapy 339
Optimal Timing 339
Pancreatic Cancer 339
Indications 339
Technical Approaches 339
Surgical Therapy 339
Optimal Timing 339
Pancreatic Ascites and Pleural Effusion 339
Indications 340
Technical Approaches 340
Surgical Therapy 340
Optimal Timing 340
Conclusions 340
Acknowledgment 340
References 340
52 Pancreatic Cancer Screening: Target Populations, Methods, and Protocols for Clinical Practice 418
Christopher Paiji, Anne Marie Lennon, and Elham Afghani
Introduction 418
Target Populations 418
Germline Genetic Mutations Associated with Pancreatic Cancer 418
Peutz–Jeghers Syndrome 418
Hereditary Pancreatitis 418
Familial Atypical Multiple Mole Melanoma 418
Hereditary Breast and Ovarian Cancer 419
Lynch Syndrome 419
Ataxia Telangiectasia 419
Familial Pancreatic Cancer Families 419
Screening Modality 420
Imaging 420
Biomarkers 420
Screening Protocol 420
Who Should be Screened and When? 420
How Should you Screen? 421
Outcomes of Screening and Surveillance Programs 421
Cost-effectiveness of Pancreatic Cancer Screening Programs 422
Conclusion 422
Acknowledgments 422
References 422
54 Staging Classification and Stratification of Pancreatic Cancer for Clinical Practice 433
Akhil Chawla and Andrew J. Aguirre
Introduction 433
Clinical Staging 433
Additional Prognostic Factors 434
Contents xxiii
55 Imaging Diagnosis and Staging of Pancreatic Cancer: Which Methods are Essential and
What Information Should they Provide? 443
Megan H. Lee and Elliot K. Fishman
Introduction 443
CT Technique 443
Anatomy 443
Pancreatic Adenocarcinoma 444
Tumor Detection 444
Initial Staging 444
Local Invasion 445
Metastatic Disease 446
Postsurgical Imaging 447
Normal Postsurgical Appearance 447
Postsurgical Complications 448
Recurrent and Metastatic Disease 448
Conclusion 448
References 448
56 The Role of Endoscopic Ultrasound and Associated Methods (Elastography, Contrast Enhancement) in the Diagnosis
and Assessment of Resectability of Pancreatic Cancer 449
Marc. Giovannini
Introduction 449
Endoscopic Ultrasound for the Diagnosis and Staging of Pancreatic Cancer 449
Classification of Pancreatic Cancer According to EUS Findings 449
Role of EUS in the Diagnosis of Pancreatic Cancer 450
Accuracy of EUS Compared to Cross-sectional Imaging Techniques for the Assessment of Locoregional Extension
of Pancreatic Cancer 450
Accuracy for T and N Staging 450
Evaluation of Vascular Involvement 450
Nodal Invasion 451
EUS-guided Fine Needle Biopsy 451
EUS Elastography 452
Theory and Technical Aspects of Elastography 452
Role of EUS Elastography in the Diagnosis of Pancreatic Cancer 452
Contrast-enhanced EUS 453
General Considerations 453
Commercially Available Ultrasound Contrast Agents in Europe 455
Role of Contrast-enhanced EUS in the Diagnosis of Pancreatic Cancer 456
Conclusion 456
References 456
xxiv Contents
58 Surgical Treatment of Resectable Pancreatic Cancer: What is the Optimal Strategy? 472
Jan G. D’Haese, Bernhard W. Renz, and Jens Werner
Introduction 472
Standard Resections and Lymphadenectomy for Resectable Pancreatic Cancer 472
Pancreaticoduodenectomy (Kausch–Whipple Procedure) 472
Pancreatic Left Resection 473
Minimally Invasive Surgery 474
Extended Resections 474
Future Perspectives 475
References 476
63 EUS-guided Celiac Plexus Neurolysis for Pain in Pancreatic Cancer: When and How? 514
Jonathan M. Wyse and Anand V. Sahai
Introduction 514
When EUS-CPN Should be Considered 514
Safety of EUS-CPN 515
Celiac Ganglia Neurolysis 516
How to Inject and What to Expect: Unilateral vs. Bilateral Injection 516
Is the Future of EUS-CPN Neurolysis with a Different Neurolytic? 517
Summary 517
References 518
68 Present and Future of Local Therapies for Unresectable Pancreatic Cancer 555
Sabrina Gloria Giulia Testoni, Gemma Rossi, Livia Archibugi, and Paolo Giorgio Arcidiacono
Introduction 555
Direct Antitumor Therapy 555
EUS-guided Radiofrequency Ablation 555
EUS-guided Irreversible Electroporation 557
EUS-guided Nd:YAG Laser Ablation 557
EUS-guided Photodynamic Therapy 557
EUS-guided High-intensity Focused Ultrasound 558
EUS-guided HybridTherm Ablation 558
Indirect Antitumor Therapy 559
EUS-guided Fiducial Placement 559
EUS-guided Brachytherapy 560
EUS-guided Fine-needle Antitumor Injection 560
Future Directions 561
References 561
69 New Pharmacological Approaches for Pancreatic Cancer Therapy: A Light at the End of
the Tunnel? 564
Vineet K. Gupta, Sulagna Banerjee, and Ashok K. Saluja
Introduction 564
Pancreatic Cancer: Challenges in the Field 564
Tumor Heterogeneity 564
Desmoplasia in the Tumor 565
Late Detection of Disease 566
Surgical Challenges 566
Overcoming Challenges: Therapy against Pancreatic Cancer 566
Targeting EGF 566
Targeting Heat-shock Proteins 567
Antistromal Therapy 567
Immunotherapy 568
Metabolic Inhibitors 568
Conclusion 569
Acknowledgments 569
Disclosures 569
References 569
xxviii Contents
72 The Role of Multidetector CT, MRI and MRCP in the Diagnosis and Differential Diagnosis of Pancreatic Cystic
Neoplasms 593
Megan H. Lee and Elliot K. Fishman
Introduction 593
CT Technique 593
MRI Technique 593
Cystic Pancreatic Masses 593
Mucinous Cystic Neoplasms 594
Serous Cystadenomas 594
Intraductal Papillary Mucinous Neoplasms 595
Other Cystic Pancreatic Lesions 596
Solid Pseudopapillary Tumor 596
Lymphoepithelial Cysts 596
Neuroendocrine Tumors 597
Conclusion 597
References 598
74 Cystic Tumors Other than IPMN: When to Observe, When to Operate, and Optimal Surgical Approach 608
John W. Kunstman, and James J. Farrell
Introduction 608
Scope of Pancreatic Cystic Neoplasia 608
Mucinous Cystic Neoplasm 609
Indications for Surgery 609
Approach to Management 611
Serous Cystic Neoplasm 611
Indications for Surgery 612
Approach to Management 613
Solid Pseudopapillary Neoplasm 614
Indications for Surgery 615
Approach to Management 616
Cystic Pancreatic Endocrine Neoplasm 616
Indication for Surgery 617
Approach to Management 617
Other Rare Cystic Neoplasms 617
Lymphoepithelial Cysts 617
Cystic Lymphangioma 618
Cystic Degeneration of Solid Tumors 618
References 619
Diagnosis 635
Laboratory 635
Imaging 635
Morphological Imaging 635
Functional Imaging 635
Staging Systems 636
Treatment 637
F-PanNENs 637
Nonfunctioning PanNENs 637
Localized Disease 637
Metastatic Disease 637
Acknowledgments 638
References 639
Section VIII Functional Alterations of the Pancreas in Other Clinical Situations 651
78 Diagnosis and Therapy of Exocrine Pancreatic Insufficiency after Gastric and Pancreatic Surgery 653
Raffaele Pezzilli
Introduction 653
Gastrectomy 653
Pathophysiology of EPI 653
How to Assess Pancreatic Function in Gastrectomized Patients 654
Pancreatic Enzyme Replacement Therapy after Gastric Resection 655
Well-being of Gastrectomized Patients with Maldigestion 656
Future Perspectives 656
Pancreatectomy 656
Pathophysiology of EPI 656
How to Assess Pancreatic Function in Pancreatic-resected Patients 657
Pancreatic Enzyme Replacement Therapy after Pancreatic Resection 657
Well-being of Pancreatic-resected Patients with Maldigestion 658
Pancreatic Neoplasm 658
Chronic Pancreatitis 658
Type of Surgery and Reconstruction 659
Future Perspectives 659
References 659
Index 679
xxxiii
Contributors
Erik-Jan Wamsteker, MD
Associate Professor of Medicine John A. Windsor, BSc, MBChB, DipObst, MD(Thesis),
Department of Internal Medicine FRACS, FACS, FASA(Hons), FRSNZ
Division of Gastroenterology and Hepatology Professor of Surgery
University of Michigan School of Medicine Department of Surgery, University of Auckland
Ann Arbor, MI, USA Department of Surgery, Auckland City Hospital
Auckland, New Zealand
Irving Waxman, MD
Sara and Harold Lincoln Thompson Professor of Aimee Joy Wiseman, MBBS
Medicine and Surgery Department of Gastroenterology
Center for Endoscopic Research and Therapeutics Sydney Children’s Hospital
University of Chicago Randwick, NSW, Australia
Chicago, IL, USA
Jonathan M. Wyse, MD, MSc (Epid.)
Christa J. Sperna Weiland, MD Division of Gastroenterology
Dutch Pancreatitis Study Group Jewish General Hospital
St. Antonius Ziekenhuis McGill University
Nieuwegein, the Netherlands Montreal, Canada
Contributors xlv
F
oreword
Pancreatic diseases represent an enigma to many physi- pancreas and its diseases, malfunction and affections, in
cians, even gastroenterologists and surgeons. Nevertheless, conjunction with other aspects relevant to clinical practice,
it encompasses a plethora of diseases that can severely are covered. This book will provide reading for gastroenter-
affect the well-being of any individual. Sound knowledge is ologists, surgeons as well as fellows in pancreatology and
therefore pivotal to provide clinical care for these patients. anyone interested in pancreatic diseases. I trust that this
Pancreatologists have for long been pronounced an endan- second edition will be as well received and cherished as the
gered species [1], triggering special efforts in postgraduate first one.
eductation [2].
It is the merit of the editor, J. Enrique Domínguez- J. -Matthias Löhr
Muñoz, an esteemed and experienced gastroenterologist Professor of Gastroenterology and Hepatology
and pancreatologist who has left his mark in the field, to Karolinska Institutet
pull together an international group of highly recognized Secretary, European Pancreas Club (EPC)
colleagues who themselves have made landmark contribu-
tions enlightening all of gastroenterology, pancreatology, 1 Schmid R. Pancreatologists: an endangered species?
and pancreatic surgery. One might ask whether in this day Gastroenterology 2010;138:1236.
and age a textbook is needed. This book, the second edition 2 Gasslander T, Holmberg B, Permert J. Pancreas 2000: a new
of Clinical Pancreatology, proves that the answer to this concept for education and development in pancreatology.
is yes! In one physical place, everything related to the Pancreatology 2005;5:545–546.
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at the Italian opera in Paris; but the only foundation for such a report
seems to be that it was not uncommon for violinist composers of that
period to enlist the aid of their friends in writing for the orchestra.
Viotti was a broadly educated musician, whose experience with
orchestras was wide.
Second in importance to the concertos are the duets for two violins
written during his stay in Hamburg. These are considered second in
musical charm only to Spohr’s pieces in the same manner. That
Viotti was somewhat low in spirit when he was at work on them,
exiled as he was from London and Paris, is shown by the few words
prefixed to one of the sets, ‘This work is fruit of the leisure which
misfortune has brought me. Some pieces came to me in grief, others
in hope.’
The list of the men who came to him for instruction while he was in
Paris contains names that even today have an imposing ring. Most
prominent among them are Rode, Cartier, and Durand. And among
those who were not actually his pupils but who accepted him as their
ideal and modelled themselves after him were Rodolphe Kreutzer
and Pierre Baillot. These men are the very fountain head of most
violin music and playing of the nineteenth century. They set the
standard of excellence in style and technique by which Spohr and
later Vieuxtemps ruled themselves.
IV
Before considering their work, the development of violin music in
Germany during the eighteenth century must be noticed. The
influence of the Italians was not less strong here than in France.
Both Biber and Strungk had come under it in the late seventeenth
century, Strungk being, as we know, personally acquainted with
Corelli and at one time associating closely with him in Rome. The
German violinists of the eighteenth century either went to Italy to
study, or came under the influence of various Italians who passed
through the chief German cities on concert tours.
Most conspicuous among those who were actually his pupils was
Johann Gottlieb Graun, brother of the still familiar Carl Heinrich. But
Graun was not content with instruction in Germany alone, and
betook himself to Tartini in Padua. After his return to his native land,
he eventually found his place at the court of Frederick the Great,
who was still crown prince. With him at this time were Quantz, the
flute player, and Franz Benda. After the accession of Frederick to the
throne of Prussia, Graun was made first violin and concert master in
the royal orchestra; and he held this place until his death in 1771.
His compositions, like all others for the violin at this period, are
hardly more than imitations of the Italian masterpieces. And like
Pisendel, his importance is in the improvement of the state of
instrumental music in Germany, and especially of the orchestra at
Berlin.
His successor in this royal orchestra was Franz Benda, who, not only
by reason of the romantic wanderings of his life, is one of the most
interesting figures in the history of music in Germany during the
eighteenth century. His father, Hans Georg, had been a sort of
wandering player, as well as a weaver; and his brothers, Johann,
Georg, and Joseph, were all musicians who won a high place in their
day. Georg was perhaps the most distinguished of the family, but in
the history of violin-music Franz occupies a more important place.
His playing was admired for its warm, singing quality, which showed
to such advantages in all slow movements that musicians would
come long distances to hear him play an adagio. Burney heard him
in 1772 and was impressed by the true feeling in his playing. Burney,
too, mentioned that in all Benda’s compositions for the violin there
were no passages which should not be played in a singing and
expressive manner. He went on to say that Benda’s playing was
distinguished in this quality from that of Tartini, Somis, and Veracini,
and that it was something all his own which he had acquired in his
early association with singers.
His works for the violin are numerous, but only a small part of them
was published, and this posthumously. In spite of the often lovely
melodies in the slow movements they have not been able to outlive
their own day. Wasielewski calls attention to the general use of
conventional arpeggio figures in the long movements, which,
characteristic of a great deal of contemporary music for the violin,
may have been written with the idea of offering good technical
exercise in the art of bowing.
Among Benda’s many pupils the two most significant are his own
son, Carl, and Friedrich Wilhelm Rust. The former seems to have
inherited a great part of his father’s skill and style. The sonatas of the
latter are among the best compositions written in Germany for the
violin in the second half of the eighteenth century. Rust died in
February, 1798. His name is remembered as much for his sonatas
for pianoforte as for his violin compositions. Another pupil, Carl
Haack, lived until September, 1819, and thus was able to carry the
Benda tradition over into the nineteenth century. On the whole Franz
Benda may be said to have founded a school of violin playing in
Berlin which has influenced the growth of music for that instrument in
Germany. Its chief characteristic was the care given to simplicity and
straightforwardness, especially in the playing of slow movements
and melodies, which stands out quite distinctly against the current of
more or less specious virtuosity running across the century.
V
Meanwhile about the orchestra at Mannheim there was a band of
gifted young men whose importance in the development of the
symphony and other allied forms has been but recently recognized,
and now, it seems, can hardly be overestimated. The most
remarkable of these was J. C. Stamitz, a Bohemian born in 1719,
who died when less than forty years old. His great accomplishments
in the domains of orchestral music have been explained elsewhere
in this series. In the matter of violin music he can hardly be said to
show any unusual independence of the Italians, but in the meagre
accounts of his life there is enough to show that he was a great
violinist. He was the teacher of his two sons, Carl (1746-1801) and
Anton (b. 1753), the latter of whom apparently grew up in Paris,
where the father, by the way, had been well known at the house of
La Pouplinière. Anton, as we shall see, was the teacher of Rodolphe
Kreutzer, already mentioned as one of the great teachers at the
Paris Conservatory in the first of the nineteenth century.
In Vienna the Italian influence was supreme down to nearly the end
of the century. The first of the Viennese violinists to win an
international and a lasting renown was Karl Ditters von Dittersdorf (b.
1739), the friend of Haydn and Gluck. Though two of his teachers,
König and Ziegler, were Austrians, a third, who perfected him, was
an Italian, Trani. Through Trani Dittersdorf became familiar with the
works of Corelli, Tartini, and Ferrari, after which he formed his own
style. Practically the first German to draw a circle of pupils about him
was Anton Wranitzky (b. 1761). Among his pupils the most
distinguished was Ignaz Schuppanzigh, who, as the leader of the
Schuppanzigh quartet, won for himself an immortal fame, and really
set the model for most quartet playing throughout the nineteenth
century. He was the son of a professor at the Realschule in Vienna.
From boyhood he showed a zeal for music, at first making himself a
master of the viola. At the time Beethoven was studying counterpoint
with Albrechtsberger he was taking lessons on the viola with
Schuppanzigh. Later, however, Schuppanzigh gave up the viola for
the violin. His most distinguished work was as a quartet leader, but
he won fame as a solo player as well; and when the palace of Prince
Rasoumowsky was burned in 1815, he went off on a concert tour
through Germany, Poland and Russia which lasted many years. He
was a friend not only of Beethoven, but of Haydn, Mozart, and of
Schubert as well; and was the principal means of bringing the
quartet music of these masters to the knowledge of the Viennese
public. He died of paralysis, March 2, 1830. Among his pupils the
most famous was Mayseder, at one time a member of the quartet.
VI
Before concluding this chapter and passing on to a discussion of the
development of violin music in the nineteenth century a few words
must be said of the compositions for the violin by those great
masters who were not first and foremost violinists. Among these,
four may claim our attention: Handel, Bach, Haydn, and Mozart.
Handel is not known to have given much time to the violin, but it is
said that when he chose to play on it, his tone was both strong and
beautiful. He wrote relatively little music for it. Twelve so-called solo
sonatas with figured bass (harpsichord or viol) were published in
1732 as opus 1. Of these only three are for the violin: the third, tenth,
and twelfth. The others are for flute. Apart from a few characteristic
violin figures, chiefly of the rocking variety, these solo sonatas might
very well do for clavier with equal effect. There is the sane, broad
mood in them all which one associates with Handel. In the edition of
Handel’s works by the German Handel Society, there are three
additional sonatas for violin—in D major, A major, and E major.
These seem to be of somewhat later origin than the others, but they
are in the same form, beginning with a slow movement, followed by
allegro, largo, and final allegro, as in most of the cyclical
compositions of that time. One cannot deny to these sonatas a
manly dignity and charm. They are in every way plausible as only
Handel knows how to be; yet they have neither the grace of Corelli,
nor the deep feeling of Bach. One may suspect them of being, like
the pieces for clavier, tossed off easily from his pen to make a little
money. What is remarkable is that sure as one might be of this, one
would yet pay to hear them.
There are besides these solo sonatas for violin or flute and figured
bass, nine sonatas for two violins, or violin and flute with figured
bass, and seven sonatas, opus 5, for two instruments, probably
intended for two violins.
But the polyphonic style of the sonatas for violin alone is peculiarly a
German inheritance. Walter and Biber were conspicuous for the use
of double stops and an approach to polyphonic style. Most
remarkable of all was a pupil of the old Danish organist, Buxtehude,
Nikolaus Bruhns (1665-1697), who was able to play two parts on his
violin and at the same time add one or two more with his feet on the
organ pedals. Though Corelli touched gently upon the polyphonic
style in the movements of the first six of his solo sonatas, the
polyphonic style was maintained mostly by the Germans. As Bach
would write chorus, fugue, or concerto in this style, so did he write
for the violin alone.
Of the six works the first three are sonatas, in the sense of the
sonate da chiesa of Corelli, serious and not conspicuously
rhythmical. The last three are properly suites, for they consist of
dance movements. The most astonishing of all the pieces is the
Chaconne, at the end of the second suite. Here Bach has woven a
series of variations over a simple, yet beautiful, ground, which finds
an equal only in the great Passacaglia for the organ.
There are besides these sonatas for violin alone, six sonatas for
harpsichord and violin, which are among the most beautiful of his
compositions; and a sonata in E minor and a fugue in G minor for
violin with figured bass. It is interesting to note that the six sonatas
for harpsichord and violin differ from similar works by Corelli and by
Handel. Here there is no affair with the figured bass; but the part for
the harpsichord is elaborately constructed, and truly, from the point
of view of texture, more important than that for the violin.
Bach wrote at least five concertos for one or two violins during his
stay at Cöthen. One of these is included among the six concertos
dedicated to the Margrave of Brandenburg. All of these have been
rearranged for harpsichord, and apparently among the harpsichord
concertos there are three which were originally for violin but have not
survived in that shape. The concertos, even more than the sonatas,
are not essentially violin music, but are really organ music. The style
is constantly polyphonic and the violin solos hardly stand out
sufficiently to add a contrasting spot of color to the whole. Bach’s
great work for the violin was the set of six solo sonatas. These must
indeed be reckoned, wholly apart from the instrument, as among the
great masterpieces in the musical literature of the world.
The young Mozart was hardly less proficient on the violin than he
was on the harpsichord, a fact not surprising in view of his father’s
recognized skill as a teacher in this special branch of music. But he
seems to have treated his violin with indifference and after his
departure from Salzburg for Paris to have quite neglected his
practice, much to his father’s concern. The most important of his
compositions for the violin are the five concertos written in Salzburg
in 1775. They were probably written for his own use, but just how
closely in conjunction with the visit of the Archduke Maximilian to
Salzburg in April of that year cannot be stated positively. Several
serenades and the little opera, Il re pastore, were written for the fêtes
given in honor of the same young prince. The concertos belong to
the same period. In Köchel’s Index they are numbers 207, 211, 216,
218, and 219. A sixth, belonging to a somewhat later date, bears the
number 268. Of these the first in B-flat was completed on April 14,
1775, the second, in D, June 14, the third, in G, September 12, the
fourth, in D, in October, and the fifth, in A, quite at the end of the
year.
On the other hand, we have found the violin masters like Corelli and
Tartini writing sonatas for violin, with figured bass for harpsichord,
lute, or even viol. Such sonatas were often called solo sonatas, as in
the case of those of Handel, recently mentioned. The accompanying
instrument had no function but to add harmonies, and a touch of
imitation in the written bass part, here and there.
Between these two extremes lies the sonata with harpsichord
obbligato, that is to say, with a harpsichord part which was not an
accompaniment but an essential part of the whole. In these cases
the music was generally polyphonic in character. The violin might
carry one or two parts of the music, the harpsichord two or three.
Very frequently, if the instruments played together no more than
three parts, the composition was called a Trio. The sonatas by J. S.
Bach for harpsichord and violin are of this character. Though the
harpsichord carries on more of the music than the violin, both
instruments are necessary to the complete rendering of the music.
Mozart must have frequently added improvised parts for the violin to
many of his sonatas written expressly for the keyboard instrument.
Among his earliest works one finds sonatas for clavecin with a free
part for violin, for violin or flute, for violin or flute and 'cello. Oftenest
the added part does little more than duplicate the melody of the part
for clavecin, with here and there an imitation or a progression of
thirds or sixths. But among his later works are sonatas for pianoforte
with added accompaniment for violin in which the two instruments
contribute something like an equal share to the music, which are the
ancestors of the sonatas for violin and piano by Beethoven, Brahms,
and César Franck. Among the most important of these are six
published in November, 1781, as opus 2. In Köchel’s Index they bear
the numbers 376, 296, 377, 378, 379, and 380. The greatest of them
is that in C major, K. 296, with its serious and rich opening adagio, its
first allegro in Mozart’s favorite G minor, and the beautiful variations
forming the last movement. Four more sonatas, of equal musical
value, were published respectively in 1784, 1785, 1787, and 1788.
VII
Looking back over the eighteenth century one cannot but be
impressed by the independent growth of violin music. The Italians
contributed far more than all the other nationalities to this steady
growth, partly because of their native love for melody and for sheer,
simple beauty of sound. The intellectual broadening of forms, the
intensifying of emotional expressiveness by means of rich and
poignant harmonies, concerned them far less than the perfecting of a
suave and wholly beautiful style which might give to the most singing
of all instruments a chance to reveal its precious and almost unique
qualities. This accounts for the calm, classic beauty of their music,
which especially in the case of Corelli and Tartini does not suffer by
changes that have since come in style and the technique of
structure.
Perhaps only in the case of Chopin can one point to such a pure and
in a sense isolated ideal in the development of music for a single
instrument, unless the organ works of Bach offer another exception.
And already in the course of the eighteenth century one finds here
and there violin music that has more than a special significance. The
sonatas for unaccompanied violin by Bach must be regarded first as
music, then as music for the violin. The style in which they were
written is not a style which has grown out of the nature of the
instrument. They have not served and perhaps cannot serve as a
model for perfect adaptation of means to an end. Bach himself was
willing to regard the ideas in them as fit for expression through other
instruments. But the works of Corelli, Tartini, Nardini and Viotti are
works which no other instrument than that for which they were
written may pretend to present. And so beautiful is the line of melody
in them, so warm the tones which they call upon, that there is
scarcely need of even the harmonies of the figured bass to make
them complete.
[50] See ‘W. A. Mozart,’ by T. de Wyzewa and G. de St. Foix, Paris, 1912.
Appendix II, Vol. II, p. 428.
CHAPTER XIII
VIOLIN MUSIC IN THE NINETEENTH
CENTURY
The perfection of the bow and of the classical technique—The
French school: Kreutzer, Rode, and Baillot—Paganini: his
predecessors, his life and fame, his playing, and his compositions
—Ludwig Spohr: his style and his compositions; his pupils—
Viennese violinists: Franz Clement, Mayseder, Boehm, Ernst and
others—The Belgian school: De Bériot and Vieuxtemps—Other
violinist composers: Wieniawski, Molique, Joachim, Sarasate, Ole
Bull; music of the violinist-composers in general—Violin music of
the great masters.
The art of violin music in the nineteenth century had its head in
Paris. Few violinists with the exception of Paganini developed their
powers without the model set them by the great French violinists at
the beginning of the century. Most of them owed more than can be
determined to the influence of Viotti. Even Spohr, who with more or
less controversial spirit, wrote of the French violinists as old-
fashioned, modelled himself pretty closely upon Rode; and therefore
even Spohr is but a descendant of the old classical Italian school.
I
Something may now be said of these men, whose activities have
without exception the glaring background of the horrors of the
French Revolution. Though Kreutzer was of German descent, he
was born in Versailles (1766) and spent the greater part of his life in
and about Paris, intimately associated with French styles and
institutions. Apart from early lessons received from his father, he
seems to have been for a time under the care of Anton Stamitz, son
of Johann Stamitz. At the Chapelle du Roi, to which organization he
obtained admittance through the influence of Marie Antoinette, he
had the occasion of hearing Viotti. The great Italian influenced him
no less than he influenced his young contemporaries in Paris.
Concerning his activities as a composer of operas little need be said,
though one or two of his ballets, especially Paul et Virginie and Le
Carnaval de Venise, held the stage for some years. As a player he
ranks among the most famous of the era. His duets with Rode
roused the public to great enthusiasm. In 1798 he was in Vienna in
the suite of General Bernadotte, and here made the acquaintance of
Beethoven. Subsequently Beethoven dedicated the sonata for violin
and piano (opus 47) to Kreutzer.