Publications

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

“Keeping Time in Guyana,” with W. David Todd. Americas, Vol. 49 No. 6 (Nov–Dec 1997), pp. 6–13.

Encapsulates several years of work in the Republic of Guyana studying, repairing, and recording 19th-century tower clocks and bells. Addresses Guyanese perceptions of public timekeeping and time consciousness.

“Problems and Solutions at a Company Museum,” Curator, Vol. 21 No. 2 (June 1978), pp. 168–173.

Recounts the author's rehabilitation of the packaging collection at the Landor Museum of Packaging Antiquities in San
Francisco.

“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.

“Elephant Under Glass: The Piano Key Bleach House of Deep River, Connecticut,” in IA, Journal of the Society for Industrial Archeology, Vol. 19 No. 2 (1992), pp. 37–59.

Uses the only surviving piano key bleach house to describe and illustrate the stages of manufacture from elephant tusks to finished piano keys, 1800–1950.

“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.

“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.

“Footpower in the Developing World: An American Precedent?” in Proceedings of the Fifth International Conference on the Conservation of the Industrial Heritage, Vol 2 No. 1 (1986), pp. 45–54.

Examines the rise of early American foot-powered machinery in the woodworking and metalcutting industries, speculating
on the transferability of such innovation to the modern developing world.

"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.

"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.

"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.

"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.

"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.

"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.

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 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.

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.

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.

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.

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.

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.

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.

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.”

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.

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.

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.

Pages