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.
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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.
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.
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.
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.
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.
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.
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.