Publications

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

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.

Trio in E-flat Major, D929 and Sonatensatz, D28 by Franz Schubert (cellist). The Castle Trio. Virgin Classics CDC 7-59303-2, 1993.

CD recording of one half of Schubert’s output for piano trio, performed on period instruments by the Castle Trio. The Trio’s Grammy Award-winning pianist Lambert Orkis uses a copy of an 1824 Graf fortepiano made by Rod Regier, who has subsequently done extensive restoration work on the Smithsonian’s own Graf instrument. Slowik’s accompanying essay discusses the works and the last years of Schubert’s life.

Concerts Royaux and Pièces à deux clavecins by François Couperin (viola da gamba and harpsichord). The Smithsonian Chamber Players. BMG/deutsche harmonia mundi 05472-77327-2, 1994.

CD recording of works (discussed in Slowik’s accompanying essay) by François Couperin “le Grand,” one of the most important of French baroque composers. The recording features two harpsichords from the Smithsonian collection, one made in 1760 by Benoist Stehlin of Paris, the other a modern copy of an 18th-century harpsichord by Etienne Blanchet made on a commission from the Smithsonian by William Dowd of Cambridge, Massachusetts.

Metamorphosen by Richard Strauss; Serenade and Elegy by Edward Elgar; Adagio for Strings by Samuel Barber (dir.). The Smithsonian Chamber Players. BMG/deutsche harmonia mundi 05472-77343-2, 1995.

CD recording of four important string orchestra works from the half-century before the end of the Second World War, performed by an ensemble whose instruments are strung with gut strings, played in a period-appropriate manner. The differences between this historically informed approach and modern practices are highlighted in Slowik’s accompanying essay, which also discusses the works and provides analytical insights, illustrated in special additional tracks on the CD, into the harmonic/motivic metamorphoses referred to in the Strauss title.

Octet, Op. 20, by Felix Mendelssohn; Octet, Op. 17, by Neils Gade (cellist). Smithsonian Chamber Players and L’Archibudelli. SONY Vivarte SK 48307, 1992.

CD recording, played on eight Stradivarius instruments from the collections of the Smithsonian and the Library of Congress (including the Smithsonian’s Ole Bull and Greffuhle violins, the Axelrod viola, and the Servais and Marylebone cellos), of Felix Mendelssohn’s Octet, arguably the most important work of its kind in the string repertoire, paired with his pupil Neils Gade’s similarly scored but little-known masterpiece. John Newsom, Chief of the Music Division of the Library of Congress, where Mendelssohn’s autograph score to the Octet resides, has contributed an accompanying essay discussing the works.

String Quintets, Op. 11, Nos. 4–6 by Luigi Boccherini (cellist). The Smithsonian Chamber Players. BMG/deutsche harmonia mundi RD77159, 1991.

CD recording of three of Luigi Boccherini’s 126 string quintets, 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 cellist colleague is the legendary Dutch cellist and Boccherini specialist, Anner Bylsma. The recording includes the famous A-major Menuet used in the soundtrack to the original film The Ladykillers. Slowik’s accompanying essay discusses Boccherini’s singular importance in non-Viennese Classical-period chamber music.

Visions of Freedom on the Great Plains: An Illustrated History of African Americans in Nebraska with Bertha Calloway. Donning Publishers, 1998.
After the Revolution: The Smithsonian History of Everyday Life in the Eighteenth Century (New York: Pantheon Press, 1985).
Review of Cary Carson, et al. Becoming Americans: Our Struggle to Be Both, in William and Mary Quarterly, 3rd ser. Vol. 56, No. 4. (Oct. 1999), pp. 842–847.
“The Adequate Revolution,” Roundtable on Gordon Wood, The Radicalism of the American Revolution, William and Mary Quarterly, 3rd Ser., Vol. 51, No. 4. (Oct. 1994), 684–692.
"The Authority of History: The Changing Public Face of the Historical Society of Pennsylvania," Pennsylvania Magazine of History and Biography CXIV (1990), pp. 37–66.
Review of “We the People: Creating a New Nation, 1765-1820,” Chicago Historical Society exhibition, The Journal of American History, Vol. 76, No. 1. (Jun. 1989), pp. 198–202.
"Social Visions of the American Revolution, 1765–1775," in The Transforming Hand of Revolution: Reconsidering the Revolution as a Social Movement, ed. Ronald Hoffman and Peter J. Albert (Charlottesville, Va.: University of Virginia Press, 1995), pp. 27–57.
"Markets, Streets, and Stores: Contested Terrain in Pre-industrial Boston," in Autre Temps, Autre Espace/An Other Time An Other Space, ed. Elise Marienstras and Barbara Karsky (Nancy, France: Presses universitaires de Nancy, 1986), pp. 172–97.
Museum Review, the Yorktown Victory Center, William and Mary Quarterly, 3rd Ser., Vol. 54, No. 2. (Apr. 1997), pp. 440–442.
"Food Rioters and the American Revolution," William and Mary Quarterly, 3rd ser., Vol. 51, No. 1. (Jan. 1994), pp. 3–38.
Men and Women—A History of Costume, Gender, and Power Kathy Peiss. (Washington, D. C: NMAH, 1989).
“Revolutionary Consent,” The Boston Review, 29 (Feb/Mar 2004), pp. 20–25.
Review of The Great River, Art and Society of the Connecticut River Valley, 1635–1820, by Gerald W. R. Ward; William N. Hosley, Jr., The New England Quarterly, Vol. 59, No. 4. (Dec. 1986), 588–594.
“A Case Study of Applied Feminist Theories,” in Gender Perspectives: Essays on Women in Museums, ed. Jane R. Glazer and Artemis A. Zenetou (Washington, D.C: Smithsonian Institution Press, 1994), 137–146.
"Revolution in Boston," for the National Park Service handbook, Boston and the American Revolution, Boston National Historic Park and Freedom Trail (July 1998), pp. 6–73.

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