Publications

The list of selected staff publications may be searched by keyword or author and can be sorted by year.

“The Material Culture of Ivory Outside Africa,” in Elephant, The Animal and Its Ivory in African Culture, edited by Doran H. Ross (Los Angeles: Fowler Museum, UCLA, 1992), pp. 366–381.

Chronicles the rise of the elephant ivory industry from Byzantine craft shops to 20th-century American comb, billiard
ball, and piano key factories.

“Manufacturing Secrecy: The Dueling Cymbalmakers of North America,” in IA, Journal of the Society for Industrial Archeology, Vol. 15 No. 1 (1989), pp. 35–53.

Compares the manufacturing processes of the Zildjian and Sabian cymbal factories, focusing on a family metallurgical secret dating from the 17th century.

“The Jewish Way of Death,” Folklore Forum, Vol 29 No. 1 (1998), pp. 109–112.

Uses two sets of NMAH artifacts (coffins and ritual animal-killing knives) to compare and contrast Orthodox Jewish
approaches toward cleanliness, pain, life, and death.

“Stairway to Redemption: America’s Encounter with the British Prison Treadmill,” in Technology and Culture, Journal of the Society for the History of Technology, Vol. 30 No. 4 (October 1989), pp. 908–938.

Reviews the history of the British prison treadmill and treadwheel, and explores its uneven introduction into the early American penal system in the 1820s.

"The Several Faces of Earth Induction." with Deborah Warner and Klaus Hentschel. Bulletin of the Scientific Instrument Society. No. 76, March 2003, pp. 30–34.

Instruments that used a spinning coil to generate an electric current by means of the earth's magnetic field, and to measure the angle of "dip" of that field, were developed soon after the discovery of electomagnetic induction, but were used for a variety of purposes and took on a multiplicity of forms. In general, the early ones were didactic and non-quantitative; later came more elaborate designs that could yield precise numerical data for geomagnetic research.

"Heliostat" in Robert Bud and Deborah Jean Warner, eds., Instruments of Science. An Historical Encyclopedia. New York and London: The Science Museum and The National Museum of American History, 1998, pp. 305–308.

Before the development and widespread availability of convenient light sources operated by electricity, the sun was the best illuminant for optical experiments that required strong light. To provide a stationary beam of sunlight,
physicists in the eighteenth and nineteenth centuries invented a number of instruments that used clockwork mechanisms to move a mirror to compensate for the sun's apparent movement. The ingenuity and variety of principles embodied in these "heliostats" reveal how important the problem was considered to be.

"Charles Page, Daniel Davis, and Their Electromagnetic Apparatus." Rittenhouse, Vol. 2, No. 2: February 1988, pp. 34–47.

The American electrical scientist and inventor Charles G. Page and the Boston maker of didactic electromagnetic instruments Daniel Davis had a close working relationship for several years, beginning apparently in 1838. Davis made, sold, and described in his catalogues Page's inventions, often before Page himself published them in the scientific press, while Page benefited from Davis's mechanical skill and workshop facilities in the construction and testing of his new instruments.

"Joseph Henry's Contributions to the Electromagnet and the Electric Motor." Smithsonian Institution, The Joseph Henry Papers Project, 1999. (Earlier version in Rittenhouse, Vol.12, No. 4: October 1998, pp. 97–106.)

Henry constructed in 1830 the strongest electromagnet in the world; the principles he discovered in the process led him on to devise an electric motor. His spectacular magnets launched his scientific career, but in the case of his motor, his reluctance to be involved in non-scientific applications of his discoveries battled in his psyche with his need for credit and recognition, leading to a curious ambivalence.

"That Pleasing and Noble Branch of Philosophy:' The Electrical Lecture of Isaac Greenwood III." Rittenhouse, Vol. 5, No. 2: February 1991, pp. 46–52.

A broadside dated Providence, R.I., 1793 shows that Greenwood was giving a lecture on electricity, with demonstrations, that followed a tradition for such lectures already half a century old in America at that time.

"Charles Came, Itinerant Science Lecturer, and His 'Splendid Apparatus." Rittenhouse, Vol. 5, No. 4: August 1991, pp. 118–128.

An extensive and rich collection of demonstration apparatus, stage decorations, posters, handbills, and letters, acquired by NMAH, yields a detailed picture of the life and struggles of a minimally educated, but enthusiastic and hard-working, showman who traveled about the rural villages of upstate New York in the 1840s and 1850s, lecturing on electricity, astronomy, and other subjects. The collection and what it reveals about Came is important because very little is known about such rural lecturers and what they told and showed to their audiences.

Adrien-François Servais, Souvenirs and Caprices (cello). The Smithsonian Chamber Players. EMI CDC 7-49009-2, 1988.

CD recording featuring famed Dutch cellist Anner Bylsma, with the Smithsonian Chamber Players, performing works of 19th-century Belgian cellist Adrien-François Servais on the very cello Servais used for the bulk of his career, the magnificent 1701 Stradivarius cello, known as the “Servais," from the Smithsonian’s collection. Servais’s career and acquisition of the cello are traced in Slowik’s accompanying essay.

Chamber music of Louis Spohr: Sextet, Op. 140; Octet, Op. 65 (cellist). Smithsonian Chamber Players and L’Archibudelli. SONY Vivarte SK 53307, 1993.

CD recording of two important works by the German Romantic violinist and composer Louis Spohr, played on eight Stradivarius instruments, including the Ole Bull and Greffuhle violins, the Axelrod viola, and the Servais and Marylebone cellos from the Smithsonian collection. Slowik’s accompanying essay discusses the works, including reflections on Brahm's debt to Spohr’s Sextet.

String Quartets, Op. 18, Nos. 1–6 by Ludwig van Beethoven (cellist). The Smithson String Quartet. BMG/deutsche harmonia mundi 77029-2-RC, 1988.

The first period-instrument CD recordings of Beethoven’s early Op. 18 quartets, the initial six of his eventual sixteen string quartets, performed by the Smithson String Quartet—Jaap Schroeder and Marilyn McDonald, violins; Judson Griffin, viola; and Kenneth Slowik, cello—resident artists of the Smithsonian Chamber Music Society from 1982–1991. Slowik’s accompanying essay discusses the works and their relationship to the late quartets of Haydn and Mozart.

Trio in G Minor, Op. 15 by Bedrich Smetana; Dumky Trio by Antonin Dvorák (cellist). The Castle Trio. Smithsonian Collection of Recordings ND 034, 1988.

CD recording of two major late-19th-century Czech piano trios, played by the Castle Trio on the Smithsonian’s 1892 “Paderewski” Steinway piano and “Marlebone” Stradivarius cello, plus an Andrea Guarneri violin. Slowik’s accompanying essay discusses the works and the performance practice approach taken in preparing the recording.

The Twelve Trio Sonatas of Op. 3 by Arcangelo Corelli (cello). The Smithsonian Chamber Players. Smithsonian Collection of Recordings ND 035, 1989.

The first CD recording made on period instruments of the complete trio sonatas of Corelli’s Op. 3. Slowik’s Smithsonian Chamber Players colleagues are violinists Jaap Schroeder and Marilyn McDonald, theorbo player Konrad Junghänel, and organist James Weaver. In the accompanying essay, Slowik discusses Corelli’s widespread influence at the end of the seventeenth century and the history of the Op. 3 sonatas.

St. John Passion, BWV 245, by Johann Sebastian Bach (dir.). The Smithsonian Chamber Players and Smithsonian Chamber Chorus. Smithsonian Collection of Recordings ND0381, 1990.

CD recording of Bach’s dramatic narrative of the Passion According to St. John, played on period instruments and sung by a 12-voice chorus of soloists. The two discs can be programmed to allow listeners to compare the standard version of the work with the version Bach re-wrote for a 1725 performance. Slowik’s extensive accompanying essay has been cited as among the best of its kind for the detailed introduction it provides to the work’s history and structure.

String Quartets Op. 54, Nos. 1 & 2 by Joseph Haydn (cellist). The Smithson String Quartet. BMG/deutsche harmonia mundi 77106-2-RG, 1989.

CD recording of two great middle-period Haydn string quartets, played on period instruments by the Smithson String Quartet—Jaap Schroeder and Marilyn McDonald, violins; Judson Griffin, viola; and Kenneth Slowik, cello—resident artists of the Smithsonian Chamber Music Society from 1982–1991. Slowik’s accompanying essay discusses the works and their dedicatee, Johann Tost.

Quintets, Opp. 38, 39, & 40 by Georges Onslow (cellist). The Smithsonian Chamber Players and L’Archibudelli. SONY Vivarte SK 64308, 1995.

CD recording of three of the thirty-four string quintets of Georges Onslow (called by no less discriminating a critic than Hector Berlioz “our French Beethoven”), played on five Stradivarius instruments from the Smithsonian collection: the Ole Bull and Greffuhle violins, the Axelrod viola, and the Servais and Marylebone cellos. Slowik’s cello colleague is the legendary Dutch cellist, Anner Bylsma, who is joined by his L’Archibudelli colleague, violinist Vera Beths. Slowik’s accompanying essay discusses the three works, paying particular attention to Onslow’s autobiographical Op. 38 quintet, subtitled “The Bullet.”

Symphony No. 4 in G Major (arranged for chamber orchestra by Erwin Stein) and Lieder eines fahrenden Gesellen [Songs of a Wayfarer] (arranged for chamber orchestra by Arnold Schönberg), by Gustav Mahler (dir.). The Smithsonian Chamber Players and Santa Fe Pro Musica, with Christine Brandes, soprano, and Susan Platts, mezzo-soprano. Dorian DOR-90315, 2003.

CD recording of two major Mahler works in arrangements made for Schönberg’s Verein für musikalische Privataufführungen [Society for Private Musical Performances], about 1920. The performances prominently feature the quartet of Nicolo Amati instruments from the Museum’s collection, and are based on study of annotated scores (discussed in Slowik’s accompanying essay) used by Willem Mengelberg, Mahler’s principle champion from 1904 to 1940.

Verklärte Nacht by Arnold Schoenberg; Adagietto by Gustav Maher; Quartetto Serioso, Op. 95 by Ludwig van Beethoven, arranged for string orchestra by Gustav Mahler (dir.). The Smithsonian Chamber Players. BMG/deutsche harmonia mundi 05472-77374-2, 1996.

CD recording of three string orchestra works from around the turn of the twentieth century, performed by an ensemble on instruments strung with gut strings and played in a period-appropriate manner. The differences between this historically-informed approach, based in part on the recordings and scores of work of Willem Mengelberg, Mahler’s principle champion from 1904 to 1940 and modern practices, are discussed in Slowik’s accompanying essay. The disk includes brief excerpts from two historical recordings of the Adagietto (one by Mengelberg, one by Bruno Walter), and a reading of Schoenberg’s program notes for Verklärte Nacht read by Richard Hoffmann, the composer’s secretary during the last three years of his life in Los Angeles.

Quintet in C Major, D956 by Franz Schubert (cellist). Smithsonian Chamber Players and L’Archibudelli. SONY Vivarte SK 46669, 1991.

CD recording of the great cello quintet of Schubert, played on five Stradivarius instruments, including the Ole Bull and Greffuhle violins, the Axelrod viola, and the Servais and Marylebone cellos from the Smithsonian collection. Slowik’s cello colleague is the legendary Dutch cellist, Anner Bylsma, who is joined by his L’Archibudelli colleague violinist Vera Beths, soloists in the recording of the Schubert Rondo for solo violin and strings that rounds out this CD.

Sonatas for Piano and Violoncello, Op. 5, Nos 1 & 2 by Ludwig van Beethoven (cellist, with James Weaver, fortepianist). Smithsonian Collection of Recordings ND 0323, 1988.

CD recording of the first two of Beethoven’s five sonatas for piano and violoncello. Slowik’s accompanying essay discusses the genesis of these works and cellist Jean Pierre Duport’s contributions to them.

Pièces à deux violes of 1686 by Marin Marais (viola da gamba). The Smithsonian Chamber Players. BMG/deutsche harmonia mundi 77146-2-RC, 1990.

CD recording of Marais’s two suites for two bass viols and continuo. In his accompanying essay, Slowik discusses the suites in general and the fact that the opening of the Tombeau from the G Major suite later served Johanm Sebastian Bach as the model for the chorus which begins the St. Matthew Passion. Slowik’s Smithsonian Chamber Players colleagues on this disk are Jaap ter Linden, viola da gamba, and Konrad Junghänel, theorbo.

The Complete Piano Trios of Ludwig van Beethoven (cellist). The Castle Trio. Vol. 1, Virgin Classics VC 7-91126-2, 1990; vol. 2, Virgin Classics VC 7-91442-2, 1991; vol. 3, Virgin Classics VC 7-59220-2, 1993; vol. 4, Smithsonian Collection of Recordings ND 036, 1989.

The first period-instrument CD recording of the complete Beethoven piano trios, played by the Smithsonian Chamber Music Society’s Castle Trio. The Trio’s Grammy Award-winning pianist Lambert Orkis uses five different fortepianos, illustrating the rapid development of the instrument during Beethoven’s lifetime, including one made by Conrad Graf (maker of Beethoven’s last piano) now in the Smithsonian collection. Slowik’s accompanying essays discuss the music, the instruments, and the Castle Trio’s approach to the works, which was influenced by Beethoven pupil Carl Czerny’s treatise, "On the Proper Performance of Beethoven’s Works for the Pianoforte."

String Quartets Op. 77, Nos. 1 & 2 and Op. 103 (cellist). The Smithson String Quartet. EMI CDC 7-49003-2, 1988.

CD recording of the last three of Haydn’s sixty-eight string quartets, played on period instruments by the Smithson String Quartet—Jaap Schroeder and Marilyn McDonald, violins; Judson Griffin, viola; and Kenneth Slowik, cello—resident artists of the Smithsonian Chamber Music Society from 1982–1991. Slowik’s accompanying essay discusses the works and their relationship to the Op. 18 quartets of Beethoven.

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