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

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.

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.

Visions of Freedom on the Great Plains: An Illustrated History of African Americans in Nebraska with Bertha Calloway. Donning Publishers, 1998.
"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.
“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.
“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.