Publications

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

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.

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.

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.

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.

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.

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.

Visions of Freedom on the Great Plains: An Illustrated History of African Americans in Nebraska with Bertha Calloway. Donning Publishers, 1998.
“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.
Men and Women—A History of Costume, Gender, and Power Kathy Peiss. (Washington, D. C: NMAH, 1989).
Excerpts from a Conference to Honor William Appleman Williams with Dina Copelman, ed. Radical History Review 50 (1991), pp. 39–70.
"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.
"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.
"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.
“Revolutionary Consent,” The Boston Review, 29 (Feb/Mar 2004), pp. 20–25.
After the Revolution: The Smithsonian History of Everyday Life in the Eighteenth Century (New York: Pantheon Press, 1985).
Museum Review, the Yorktown Victory Center, William and Mary Quarterly, 3rd Ser., Vol. 54, No. 2. (Apr. 1997), pp. 440–442.
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.
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.
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.
"Food Rioters and the American Revolution," William and Mary Quarterly, 3rd ser., Vol. 51, No. 1. (Jan. 1994), pp. 3–38.
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.
"From Another Site: Comments on 'Digitizing Women's History'," Radical History Review 68 (1997), pp. 121–25.
"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.

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