Publications

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

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.

The Complete Piano Trios of Ludwig van Beethoven (cellist). The Castle Trio. Vol. 1, Virgin Classics VC 7-91126-2, 1990; vol. 2, Virgin Classics VC 7-91442-2, 1991; vol. 3, Virgin Classics VC 7-59220-2, 1993; vol. 4, Smithsonian Collection of Recordings ND 036, 1989.

The first period-instrument CD recording of the complete Beethoven piano trios, played by the Smithsonian Chamber Music Society’s Castle Trio. The Trio’s Grammy Award-winning pianist Lambert Orkis uses five different fortepianos, illustrating the rapid development of the instrument during Beethoven’s lifetime, including one made by Conrad Graf (maker of Beethoven’s last piano) now in the Smithsonian collection. Slowik’s accompanying essays discuss the music, the instruments, and the Castle Trio’s approach to the works, which was influenced by Beethoven pupil Carl Czerny’s treatise, "On the Proper Performance of Beethoven’s Works for the Pianoforte."

Chamber music of Louis Spohr: Sextet, Op. 140; Octet, Op. 65 (cellist). Smithsonian Chamber Players and L’Archibudelli. SONY Vivarte SK 53307, 1993.

CD recording of two important works by the German Romantic violinist and composer Louis Spohr, played on eight Stradivarius instruments, including the Ole Bull and Greffuhle violins, the Axelrod viola, and the Servais and Marylebone cellos from the Smithsonian collection. Slowik’s accompanying essay discusses the works, including reflections on Brahm's debt to Spohr’s Sextet.

Quintet in C Major, D956 by Franz Schubert (cellist). Smithsonian Chamber Players and L’Archibudelli. SONY Vivarte SK 46669, 1991.

CD recording of the great cello quintet of Schubert, played on five Stradivarius instruments, including the Ole Bull and Greffuhle violins, the Axelrod viola, and the Servais and Marylebone cellos from the Smithsonian collection. Slowik’s cello colleague is the legendary Dutch cellist, Anner Bylsma, who is joined by his L’Archibudelli colleague violinist Vera Beths, soloists in the recording of the Schubert Rondo for solo violin and strings that rounds out this CD.

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.

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

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