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), 684â€“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. 198â€“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. 27â€“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).
The Boston Review, 29 (Feb/Mar 2004), pp. 20â€“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), 588â€“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), 137â€“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.
Response to Nathan Huggins, "The Deforming Mirror of Truth: Slavery and the Master Narrative of American History,"
Radical History Review 49 (Winter 1991), pp. 56–59.
"From Another Site: Comments on 'Digitizing Women's History',"
Radical History Review 68 (1997), pp. 121–25.
Excerpts from a Conference to Honor William Appleman Williams
with Dina Copelman, ed. Radical History Review 50 (1991), pp. 39–70.
"The Electric Guitar: How We Got From Andres Segovia to Kurt Cobain."
American Heritage of Invention and Technology 20, no. 1 (summer 2004): 12–21.
The magazine's cover article about the invention and development of the electric guitar and how it changed the world of music during the 20th century. Features guitarists, makers, and innovators who played important roles in the evolution of the instrument and helped influence popular music styles including rock and roll.
Journal of Museum Education, Co-published by the Museum Education Roundtable and Left Coast Press.
I served as the Editor-in-Chief of the Journal, 2005-2008.