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.
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CD recording of the first two of Beethoven’s five sonatas for piano and violoncello. Slowik’s accompanying essay discusses the genesis of these works and cellist Jean Pierre Duport’s contributions to them.
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.
CD recording of two major Mahler works in arrangements made for Schönberg’s Verein für musikalische Privataufführungen [Society for Private Musical Performances], about 1920. The performances prominently feature the quartet of Nicolo Amati instruments from the Museum’s collection, and are based on study of annotated scores (discussed in Slowik’s accompanying essay) used by Willem Mengelberg, Mahler’s principle champion from 1904 to 1940.
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.”
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.
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.
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.