Czech Inspired

Three Guys Names Mo

Red Cedar Collecton

Vintage Viennese

Crystal to Gold

Czech Chamber Music

Home Sweet Home

Rossini, Mozart et al


Spillville & Gilead

Chamber Music by Harvey Sollberger

Fleur De Son Classics: FDS 58016
Recorded June/July, 2011 in King Chapel, Mount Vernon, IA
Released October, 2012
Distributed by Naxos of America

Jan Boland, flute • John Dowdall, guitar • Anthony Devroye, viola • Miera Kim, violin • Nancy McFarland Gaub, violin, • Lisa Ponton, viola, • Carey Bostian, cello

Read more about the two projects inspired by these new commissions: A Dvorak Sighting, and Perhaps Gilead. Available at


Spillville__Trio for flute, viola and guitar
1. Far from Home, [listen]Serenade #1: Dobru Noc, Ma Mila (Sleep, my Love)
2. It is Very Strange Here
Serenade #2: Dudacka Polka and Czaldy Waldy
3. Dvorak and the Scarlet Tanager / his “damn bird”
Serenade #3: Tece Voda Tece (Flow Waters, Flow)
4. Hasty Retreat
Harvey Sollberger
Perhaps Gilead (2010)__for flute, guitar & string quartet
1. Constructing a Horizon: Prairie Sunset and Moonrise
2. The Armed Man
3. Fantasy-Potpourri: Sunday Afternoon Music at Reverend Boughton’s
Harvey Sollberger


“The performances are expert, fluent and expressive. The sound, recorded at idyllic Cornell College is honest and pure. Sollberger has not apprehended Dvorak, he has embraced and extended him, like his transformation of the familiar double-stopped violin solo in the last movement of the Quartet into something which shines briefly with a Midwestern farmer/cowboy harmonic flavour.” Laurence Vittes, Gramophone (February, 2013)

“A captivating CD. Spillville draws directly upon Dvorak’s String Quartet. The entire work is an inviting mixture of textures, from soaring lyrical lines to strongly articulated passages that require excellent chamber music playing and communication among group members. Boland and Dowdall, along with violist Anthony Devroye, are clearly collaborators of the highest caliber, who remarkably match articulation and style whole playing three instruments with completely disparate means of sound production. Boland’s flute sound is sweet and slightly woody, with excellent intonation and expressive lyricism.”  Rebecca Johnson, The Flutist Quarterly (Summer, 2013)

“This is yet another significantly historic and artful contribution to the discography of virtuoso players, Red Cedar Chamber Music.” (2012)

“The music on this disc reveals a wonderful sense of Midwest America. This virtuoso ensemble, led by flautist Jan Boland, with John Dowdall on guitar, is highly respected in North America, and these performances convey with authority and beauty the moods and story-lines of the music.”  Lisa Nelson, PAN Magazine, Journal of the British Flute Society (December, 2012)

“The two pieces (Spillville and Perhaps Gilead) relate well to each other, both in subject matter and sonance, and are well played by the Red Cedar musicians. This is music of high local color with a singleness of intent that shows originality and great evocative power. The two works stand together as very agreeable examples of a thoroughgoing post-modernism that Charles Ives would certainly recognize and appreciate. I think you will too.” Grego Applegate Edwards, Gapplegate Classical-Modern Music Review (October, 2012)


Gaspard Kummer

Chamber Music for flute, guitar and strings

Fleur De Son Classics: FDS 58008
Recorded June 2010 in King Chapel, Mount Vernon, IA
Released April, 2011
Distributed by Naxos of America

Jan Boland, flute • John Dowdall, guitar • David Miller, viola • Douglas Worthen, flute • Loretta O’Sullivan, cello

Performed on period instruments
Available at


Quintetto Op.75 for two flutes, viola, guitar and cello
Allegretto non tanto
Andante poco Adagio Minuetto
Allegretto con moto
Gaspard Kummer
Serenade Op. 83 for flute, viola and guitar
AllegroMinuetto poco Allegro
Poco Adagio / Theme & Variations
Gaspard Kummer
Divertimento Op. 92 No. 2 for two flutes & guitar Gaspard Kummer
Serenade Op. 81 for flute, viola and guitar
Allegro non tanto
Adagio non tanto
Minuetto poco Allegretto
Rondo Allegretto
 Gaspard Kummer


“Red Cedar Chamber Music is a fine collection of players of period nineteenth-century instruments who performed so successfully at the British Flute Society convention this summer. These excellent players produce gorgeous sounds and play this delightful music with elegance, affection and great musicality.” Robert Bigio, Flute (London) (December, 2010)

“played with conviction and eloquence.” Bart Schmittmann, Fluit (The Netherlands Flute Society) (Vol. 4, 2010) 

“This is a performance on period instruments. The playing is excellent, and the tone qualities are charming. The intonation is spot on, and so is all the technique. Flutists Jan Boland and Douglas Worthen carry this program, playing as one.”  Gorman, American Record Guide (2011)



Chamber Music by Andrew Earle Simpson
Fleur De Son Classics: FDS 57985

Recorded June 2007 in King Chapel, Mount Vernon, IA
Release date: January 2009
Distributed by Naxos of America

Jan Boland, flute • John Dowdall, guitar • David Miller, viola

Cover photo by Len Struttmann

Read more about the project involving Simpson’s Tesserae. Available at


Fireflies: A Folk Set (2006-2008)
for flute and guitar
In the Sunflower Patch
Intake Manifold
Stars in My Crown
Sun on the River
Hallelujah! I’m a Bum
Sweet By and By
Andrew Earle Simpson
Tesserae: Six Mosaics of Ancient Rome (2003)
for flute, viola and guitar [listen]

The Emperor
Caracalla – Geta, the Youth
The Syrian Woman
Banqueting Music – Funeral March and Oration
Coda: Apotheosis

Andrew Earle Simpson
American Gothic Suite: Theme & Var. on Grant Wood
for flute, viola & guitar
Prologue: front door
Theme and Variation I: a farmer and his wife
Interlude: a lily
Variation II: a farmer and his daughter
Interlude: another lily
Variation III: your dentist and your sister
Epilogue: back door
Andrew Earle Simpson


“The Red Cedar Trio plays this music with elegance and impeccable skill. All three musicians have a warm, rich tone that never has even a hint of edge—a refreshing change of pace when so many musicians, flutists especially, seem to enjoy blasting away all the time. This is my second encounter with this ensemble, and I enjoyed it just as much. I hope they continue to foster and perform such interesting music.”  Christopher L. Chaffee, American Record Guide (July, 2009)

“Red Cedar Chamber Music has a reputation for creating and promoting quality new works, and the music on this CD is no exception. All three of these works could easily become standard repertoire pieces, and they are presented in the best possible way through the very high standards of performance and production of this CD.”  Carla Rees, The Flutist Quarterly (Summer, 2010)

“There are three inspired, colourful, beguiling sets of pieces on this CD. The performances are vibrant and full-blooded, capable of ironic humour as well as exuberance and melancholy, as this unusual music demands.”  Alison Ulren, Pan (London) (June 2009)

“All of the payers are first rate and perform as a perfectly refined ensemble, but the playing of violist Miller is quite remarkable, his tone is crisp and precise, devoid of the tubby sound which in lesser hands can afflict the instrument.”  Albert Kunze, Soundboard, (Vol 36, no. 3, 2010)

Fireflies flits and darts between genres and centuries, lighting the way for listeners to experience old themes in vibrant, new surroundings. This Red Cedar Trio recording features innovative and imaginative music by Andrew Earle Simpson of Washington, D.C., played with obvious delight.” Diana Nolen, The Gazette (September, 2009)


Johann Nepomuk Hummel

Chamber Music at Schonbrunn

on period instruments

Fleur De Son Classics: FDS # 57983
Recorded October 2006 at the United Church of Monticello
Released July 2007
Distributed by Naxos of America

Jan Boland, flute • John Dowdall, guitar • Theresa Bogard, fortepiano • Timothy Shiu, violin • Loretta O’Sullivan, cello

Available at


Grande Serenade Op. 66
for fortepiano, guitar, violin, flute and cello.
Johann Nepomuk Hummel

Trio Op. 78
for flute, cello and fortepiano
Introduction (Cantabile)
Theme & Variations [listen]

Johann Nepomuk Hummel

Potpourri Op. 53 for guitar and fortepiano
Un poco larghetto [listen]
Andante grazioso
Allegro anime
Adagio cantabile
Tempo di Valse

Johann Nepomuk Hummel
Grande Serenade Op. 63
for fortepiano, guitar, violin, flute and cello
Johann Nepomuk Hummel


“As always, flutist Boland’s sure technique and sweet tone are perfection itself, and her pure intonation on the wooden 11-keyed “simple system” flute of the time is just remarkable. She makes her musical expression with a subtilty of dynamics and shading of tone; she does not need the cloying and continuous vibrato used today to gain the audience’s attention. The color and clarity of the higher tuning of the terz guitar gives Dowdall’s tone a quiet yet balanced brilliance that matches the fortepiano nicely and is never lost in the thicker textures. Throughout, fortepianist Bogard holds the works firmly together with great rhythmic vitality, a steadying hand, and flowing and well-directed melodic lines. All the members of the ensemble have grand technique and a cantabile style that allows the listener to sit back and bask in this sunny and romantic performance.” Jerrold Pritchard, The Flute Network (January, 2008)

“Red Cedar Chamber Music, led by its core duo of flutist, Jan Boland and guitarist, John Dowdall, sound almost as if they are dancing as they play this charming and impressive music, particularly on their delightful rendition of the Potpourri, and Boland is particularly to be noted for her ability to wrestle sweet and beautifully in-tune sounds from the rather difficult nineteenth-century flute. Very highly recommended.”  Music Library Association Notes (June, 2008)

“…outstanding presentation. The musicians masterfully perform the Grande Serenade en Potpourri on authentic period instruments, achieving an unusual texture not found in many recordings of music of this era.”  Kimberlee Goodman, The Flutist Quarterly (Spring, 2009)

“…superb recording. The music is light and eminently entertaining. The recording is exceptional, with great depth and breadth.”   Bauman, American Record Guide (March/April, 2008)

“The most attractive feature of the disc is the set of authentic instruments used, especially the rather mournfully warm wooden flute of Jan Boland; the Iowa ensemble Red Cedar Chamber Music plays accurately and enthusiastically throughout.” James Manheim, All Music Guide

“The performances by Red Cedar Chamber Music are, in a purely technical sense, polished and effective.”  Zeichner, Early Music America (Spring, 2008)

“. . . a very convincing display of their focus on early nineteenth-century performing style. The playing of the ensemble is immaculate, with balance, phrasing and dynamics all occupying top priority. These factors alone ensure that this disc makes delightful listening and a fascinating glimpse into the sound-world of turn-of-the-eighteenth-century Vienna. The group’s flutist, Jan Boland’s mastery of the eleven-keyed flute is impressive. She brings to it a broad dynamic range and an excellent control of intonation. This group certainly deserves to have a secure future. They make the most of Hiemal’s delicious sonorities.” Richard Stagg, Pan (London) (June, 2009)

“(Hummel is) brilliantly performed on this CD by Red Cedar Chamber Music on period instruments. The performance of Seibelt’s La Tempesta di Mare (in the middle of the Grand Serenade Op. 66 no.2) on the fortepiano by Theresa Bogard is just stunning.”  Alison Uren, Pan (London) (March, 2008)



Fleur de Son Classics:
FDS 57974
Recorded June 2005 in King Chapel, Mount Vernon, IA.
Release date: March 14, 2006
Distributed by Naxos of America

Jan Boland, flute • John Dowdall, guitar • David Miller, viola

Available at

In February 2007, the Red Cedar Trio was featured performing Spillville Variations on Classical Guitar Alive, a syndicated program of National Public Radio, on a program titled “Rising Stars.” Read more about the project.


Spillville Variations on a Theme by Dvorak for flute, viola and guitar
Variations by Luc Gullickson, Peter Bloesch, Jerry Owen,
Jonathan Chenette, Lyle Dockendorff, Pat Smith, Harvey Sollberger, Michael Daugherty, Robert Nassif, Donald Chamberlain, Michael Gilbertson, Dan Knight
Peter Hamlin[listen]
Tracey Rush “Side Trip to Postville”[listen]
Harvey Sollberger “Dvorák and the Scarlet Tanager”[listen]
A group commission,
Theme by Dvorak set by Jan Boland.
Gypsy Variations
Czàrdàs: The Dancers[listen]Nota: The Lovers[listen]Verbunkos: The Virtuosos
Jerry M. Owen
Trio Concertant Over Czech Folk Songs
Fantasy on “Whither Little Path”
Serenade on “I Shall Buy a Black Horse”
Scherzo on “Bagpipes Playing in the Village”
“March on “Pique,” “The Musicians”
and “The Beggar”
Jerry M. Owen
Humoresque arr flute, viola and guitar
Antonin Dvorak. arr. Boland


Spillville Variations is a group-commissioning project almost dazzling in its simplicity: get a dozen or so Iowa-born or Iowa-based composers to provide one short variation each based on a theme from the Scherzo of Dvorak’s American String Quartet, an 1893 piece that just happens to have been composed in the largely Czech-populated town of Spillville, Iowa. This project has obviously struck a rich compositional vein. The composers gathered here rise to the occasion and do justice to both their honoree [Dvorak] and their performers. One could hardly imagine, in fact, a collection that keeps its ensemble close while putting them through such a full range of maneuvres. From the respective canon and fugue of Peter Hamlin and Peter Bloesch to the dance inspirations of Lyle Dockendorff’s ‘Spillville Waltz’ and Lucas Gullickson’s ‘Facing West’, these miniatures balance distinctive gravitas with a certain lightness of touch. From the modernist heights of Harvey Sollberger’s ‘Dvorak and the Scarlet Tanager/his ‘damn bird’’ to the bluesy depths of Pat Smith’s ‘Spillville Blue’, no reference is too esoteric to evoke or too low to riff on. From beginning to end, this collection teases the ear but delivers the kind of musical pay-off that all light music should strive for.” Ken Smith, Gramophone, London (2006)

“We would that all chamber music was played so sensitively and exquisitely. Boland’s flute tone is clear, sweet, and lyrical; [full of] deft shadings of color and nuance and eloquent phrase endings. I cannot leave this review without commenting on the warm tone, impeccable intonation, and sure technique of violist David Miller. He balances and blends the sound of the flute and guitar so sympathetically and musically that the ensemble melds into an integrated whole. Prominent and dashing guitar solos reveal John Dowdall’s virtuosic technique through the characteristic and brilliant figurations.” Jerrold Pritchard, The Flute Network (2006)

“For Spillville Variations, the Trio elected a theme from Dvorak’s American String Quartet in F Major, and commissioned 15 composers each to write one variation. The result is a delightful collage, or one might say collision, of diverse musical styles and inspirations, from serious contemporary music, through blues, soft jazz, Klezmer, and, if I’m not mistaken, heavy-metal rock, all beautifully played by world-class musicians. . . . it really works!” Peter Nothnagle, Peter’s Picks (November, 2007)


Three Guys Named Mo

Trios for flute, viola and guitar
on period instruments

Fleur De Son Classics: FDS 57969
Recorded August, 2002 in King Chapel, Mount Vernon, IA.
Release date: April 2005
Distributed by Naxos of America

Jan Boland, flute • John Dowdall, guitar • David Miller, viola
Available at

The instruments:
Flute: by Johann Joseph Ziegler, Vienna c. 1830. 10 keys.
Viola: unsigned Tyrolian instrument from the early 19th century.
Guitar: by Felix Manzanero.


Trio Concertant Op. 6 (fl vla gtr)
Adagio – Allegro [listen]
Polonaise: Moderato[listen]
Simon Molitor
Grand Trio Concertant Op. 30 (fl vla gtr)
Theme & Variations
Francesco Molino
The Magic Flute (arr fl vla gtr)
The Bird Catcher [listen] Within These Holy Bounds, A Girl or a Wife?, With Men Who Feel Love, March, Such a Delicate Flute Tone
W.A. Mozart


“The Red Cedar Trio plays this music with elegance and ease, never overplaying. They achieve a wonderful balance as an ensemble. As the melodies bounce around between instruments, each comes to the forefront with clean, graceful sound. If you want music that will make you smile, find this disc.” Christopher L. Chaffee, American Record Guide (2005)

“The CD is really wonderful. Three stunning artists join in perfect harmony to produce salon music at its best. In this performance, the ensemble is so gorgeous that it is obvious this trio thinks with complete unanimity. All three performers are excellent. They play with delicate articulation, charm and conviction. American flute player Jan Boland, playing on a ten-keyed instrument of 1830 by Joseph Ziegler, demonstrates perfect technical control and interpretive qualities of the highest order.” Ann Cherry, Pan The Flute Magazine (2006)


The Red Cedar Collection

American Music for Flute & Guitar

Fleur De Son Classics: FDS 57960
Recorded June 2002 in King Chapel, Mount Vernon, IA.
Released June 2003
Distributed by Naxos of America

Jan Boland, flute & John Dowdall, guitar

Available at


Hidden Tango [listen]
Jerry Owen
Fast Track [listen] Jonathan Chenette
Caprice[listen] Katherine Hoover
Caution to the Wind: get over it
Gary Schocker
River Bend[listen] John Thow
Dear Departed[listen] Robert Lindsey Nassif
El Coco (The Bogeyman)
David Leisner
Blue Third Pieces Libby Larsen
Fish are Jumping Robert Dick
Blues for Felix Charlie Byrd
Swing ’59 Charlie Byrd
Spanish Guitar Blues Charlie Byrd
Summertime[listen] George Gershwin
Prelude II George Gershwin
Captain Bartlett Blues Lyle Dockendorff


“Jethro Tull eat your heart out when it comes to the solo flute blues piece Fish are Jumping by Robert Dick. Boland’s playing gives a cool rhythmic groove with fantastic articulation and bends, and I love the train like harmonics. This piece just sounds like it is a lot of fun to play. In the guitar solo pieces, Dowdall gets a chilled back feel going during his solo pieces of Charlie Byrd. Based on 12 bar patterns he shows off a few cool licks in between a rhythmic blues vamp. I have very much enjoyed this CD. The playing is excellent and expressive. The sound quality is clear and well balanced between the instruments. Both players are tight together with the ensemble and their interpretations are outstanding.” John Couch for, Australia (2006)

“The playing and interpretations by Boland and Dowdall are just stunning in their richness, clarity, expressiveness and ensemble. The overall effect is the kind of brilliance and diversity that holds the listener in thrall.” Jerrold Pritchard, The Flute Network (2004)

“First-rate music in lovely performances recorded to perfection. …the pairing of guitar and flute gets a fine airing. The duo really can swing.” John Story, Fanfare (May/June 2004)

“Excellent ensemble. Both Boland and Dowdall have a warm, pure tone.” Johnson, American Record Guide (March/April, 2004)

“This interesting CD grew out of an innovative commissioning project . . . and features a range of styles and influences, from modal, improvisatory pieces to Copland-inspired works. The playing throughout the CD is of a high quality, with a natural sense of ensemble.” Elizabeth Green, Pan (London) (March 2004)


Vintage Viennese

Beethoven & Matiegka
on period instruments

Fleur De Son Classics: FDS 57945
Recorded August 1999 in the Cedar Rapids Museum of Art.
Released  2000
Distributed by Naxos of America

Jan Boland, flute
David Miller, viola
John Dowdall, guitar

Available at


Grand Trio

Allegro Moderato [listen]

Wenceslaus Matiegka
Serenade Op.8

Adagio/Allegro Scherzo[listen]

Ludwig van Beethoven


“Elegant, charming and beautiful are a few terms that could be used to describe this disc. A terrific recording in terms of musical pleasure and performing excellence. The overall sonority…is simply lovely. The performers are obviously totally committed artistically…their ensemble skills are excellent, and their attention to detail is exemplary. The sense of jocularity from all three players in both works is refreshing.” Stephen Waechter, Soundboard (Summer 2001)

“The first impression on hearing this disc is of a mellow and appealing tone-quality and well-balanced texture. The playing is always beautifully phrased and technically flawless — the intonation problems that beset so many exponents of period instruments are wholly absent here.” Brenda Dykes, Pan (London), (December 2002)

“All three performers are top rate; this is an instructive and imaginatively programmed CD.” John Sunier, Audiophile Audition, (January 2001)

“…music that should please most listeners with its playfulness. Boland’s flute, in particular, has a wistful character. This CD will appeal to…anyone who enjoys the small pleasures afforded by chamber music.” Raymond Tuttle. Review Index (2001)

“A sublime repast. This recording is a plum. Courtly, playful, and plaintive. The superior musicianship of this trio is no surprise.” Rebecca Lindwall, The Gazette (2001)

“The ensemble’s performance is elegant. Impeccable historical style…will draw the listener into the intimate ambiance and mood they create. The recording is exceptional in clarity and presence. The pieces are at once charming and profound.” Jerrold Pritchard, The Flute Network (2001)

“The ear is constantly charmed. Idiomatic flair and affectionate warmth. Interesting performances, and a brace of distinctive, engaging chamber works. Excellent and enterprising ensemble. A keen-edged and diligent performance.” Michael Jameson, Fanfare (May/June 2001)


Crystal to Gold

Precious Flutes and Guitars
from The Metropolitan Museum of Art

Fleur De Son Classics. FDS 57932
Recorded June 1998 in the Cedar Rapids Museum of Art.
Released 1999

Jan Boland, flute; Amy Boland, flute; John Dowdall, guitar

Available at

Recorded for the first time, rare flutes and guitars from the Musical Instrument Division of The Metropolitan Museum of Art in New York. Read more about the project and the instruments. The following instruments were on loan from The Metropolitan Museum of Art for this project.
• Glass flutes by Claude Laurent, Paris, 1813.
• Boxwood flute by Firth Hall & Pond. New York, 19th-century.
• Wood & gold flute by Jean-Louis Tulou, Paris, ca. 1852
• Guitar by Christian Frederick Martin, Nazareth, PA, 19th-century
• Guitar by Mauchant freres, France, mid-19th-century
• Guitar by Rene Lacote, Paris, ca. 1825.


François Joseph Gossec
Jean Louis Tulou
arr. Dowdall & Boland
March, Andante & Allegro
(for two crystal flutes & guitar)
Franz Joseph Haydn
arr. Boland
Little Ella
Old Memories
Maggie by My Side [listen]
Stephen Collins Foster
arr. Boland & Dowdall
ETUDE OP. 60, NO. 6
Fernando Sor
SÉRÉNADE NO. 4 IN G MAJOR Pierre-Joseph Plouvier
(d. 1826)


“I have long been a fan of Jan Boland’s elegant musicianship, and it is here in evidence in every notes she plays. She and the excellent guitarist John Dowdall have used a collection of instruments from the Metropolitan Museum of Art. Jan Boland is joined by her daughter Amy in some Haydn duets played on a pair of crystal flutes by the remarkable Parisian maker Claude Laurent. These beautiful instruments must have cost a sizable fortune, and they sound remarkably good, too. It would have been easy for a recording like this to be gimmicky, but the performances are excellent and the music is a joy to listen to, and that’s surely all we want.” Robert Bigio, Pan (London) (2000)

“Rare ‘Gold’ Shines. Boland & Dowdall have a wonderful knack for leading listeners down the path not taken, and rewarding them with rare riches from the past. The clarity of the recording, not to mention the quality of the performing, is excellent. My favorite selection is the joyful opening dance, ‘Tambourin.’ It grabbed me every time I pushed play.” Rebecca Lindwall, The Gazette (1999)

“The Bolands handle the flute with remarkable control and finesse, making some highly expressive music in the process. Dowdall’s facile guitar work offers both sensitive accompaniments and a gentle haunting sound. The vocal quality of these flutes is quite striking, particularly in such selections as the Foster melodies.” Schmidt, American Record Guide (September/October, 1999)

“very expressive. Played with warmth and intimacy.” Mia Dreese, FLUIT (Amsterdam) (Fall, 2000)

“Flutists and guitarists who are interested in original instruments will doubtless find this release essential.” John W. Lambert, Fanfare (September/October, 1999)

“As I write I am enraptured listening to list member Jan Boland’s new CD “Crystal to Gold”. The performances on this CD include mostly unfamiliar 18th &19th C. music (to me at least) played on early to mid-19th century flutes on loan from the Metropolitan Museum of Art. Jan has a real affinity for the music and instruments and plays with sensitivity and musicality of the highest order. What little (finger?) vibrato is employed is used an ornament. The beauty and focus of her tone belies any claim that constant vibrato is needed or appropriate for this music. Crystal to Gold joins a small but distinguished set of recordings of period flutes. There are a few CDs by Rachel Brown and Konrad Hunteler of 19th-century music on 19th-century instruments, but Jan’s choice of music and instruments is unique.” David Dahl, Flutelist (1999)


Czech Chamber Music

by Wenceslaus Matiegka

on period instruments
Fleur De Son Classics: FDS 57927

Recorded June, 1997at King Chapel, Mount Vernon, IA.
Released December 2, 1998.

Critics’ Choice 1998
American Record Guide

Jan Boland, 19th-c flute by Koch
David Miller, 19th-c Tyrolian viola
John Dowdall, 19th-c German guitar

Available at


Adagio di molto / Allegro moderato
Scherzo [listen]
Wenceslaus Matiegka
Menuet [listen]
Lento e Patetico [listen]
Tema con variazioni [listen]
Wenceslaus Matiegka

Wenceslaus Matiegka (1773-1830), like other musicians of his generation, was drawn to Vienna by the brilliance of its cultural heritage and its vibrant artistic life. When Matiegka arrived in Vienna from his native Czechoslovakia in 1800, the musical genius of Mozart and Beethoven was already firmly woven into the city’s cultural fabric. For Matiegka to have any musical impact in this rarefied artistic atmosphere where virtuosic brilliance was expected and genius was not uncommon, he had to possess considerable talents as both a performer and a composer.


“The players on this disc give every impression of enjoying themselves hugely and their enjoyment shines out from every note. Jan Boland uses a flute of about 1820 made by the Viennese Stephan Koch, and the two string players use period instruments as well. The playing is excellent. No allowance needs to be made for the early flute, which is exactly as it should be. Jan Boland makes a beautiful sound on her old flute, free of affectation and of the overwhelming vibrato that spoils so many performances by modern flute players. This is some of the most enjoyable music-making to have graced my home in a long time. Delicious!” Robert Bigio, Pan–the Flute Magazine (December 1998)

“Matiegka’s music is a delightful addition to any classical music collection, rendered thoughtfully and beautifully on period instruments by Jan Boland, David Miller and John Dowdall.” Oonagh Sherrard, (2006)

“One of the most enchanting discs I have heard in a while. It’s quietness and inventiveness will force you to listen. Period instruments are used, and for once they sound like something you an imagine people of the time actually sitting down and listening to. All three instruments are soft and subtle. Ms. Boland’s flute is warm, rich and faultlessly played. Mr. Dowdall Dowdall’s guitar is the ever-present background _ supportive and highly-flavored. David Miller’s viola stands out alike the start string it really is, sweet and singing, with technical impeccability. Chamber music should be just like this—intimate, bonding and conversational.” American Record Guide (Nov./Dec. 1998)

“What a treat. The CD sings with crisp, engaging melodies that stay in one’s mind long after they are heard.” Rebecca Lindwall, The Gazette (1998)

“The performers have placed considerable and appropriate emphasis on historically informed techniques. Their playing leads to an entirely satisfying balance and causes me to recommend this record to a collector seeking to enjoy undemanding but unusual late-Classical repertoire. Sound quality is first class, too.” John Hayard-Warbutron, Music & Vision (April, 1999)

“All three performers are top rate; this is an instructive and imaginatively-programmed CD.” John Sunier, Audiofile Audition (January, 2001

“Intimate parlor music, warm and friendly, inventive enough to engage the careful listener, but also free of jarring or intrusive noises. .. excellent performances.” Robert McColley, Fanfare (1998)


Home Sweet Home

Parlor Music from the Civil War

on period instruments

Recorded May, 1994 in King Chapel, Mount Vernon, IA.
Released c. 1996
Koch International Classics: 3-7312-2H1

Jan Boland, 19th-c flute by Koch
John Dowdall, 19th-c German guitar

Available at


Music from the Social Orchestra
Jennie’s Own Schottisch
Village Festival Jig
Old Folks at Home
Old Folks Quadrilles
Jeanie with the Light Brown Hair
Come with Thy Sweet Voice Again
Tioga Waltz
Gentle Annie
Stephen Collins Foster
Home Sweet Home Gaspard Kummer
from The Evening Hour
Il Bacio, or Kiss Waltz
Carrie Lee
Delsarte Waltz
Pestal or Maniac Waltz
Trab Trab Gallop
Cruel War Quickstep
Do they Think of Me at Home?
Ellsworth’s Funeral March
Septimus Winner
Auld Lang Syne Charles Nicholson

Music, as well as anything, helps us to recapture some essence of what American and Americans were all about during the War Between the States. While deep-seated philosophical differences split our union apart and drove our nation to war, troops and civilians alike were drawn together by the songs they sang and played. This recording brings together the dances, sentimental ballads and war songs which fueled the musical fire of the American Civil War Era.


“The playing is eloquent in its clarity and unfussy simplicity, and is captured on a clean and airy recording. Boland and Dowdall’s art is an informed music-making that vividly and hauntingly conjures up a moment in American history.” William Zagorski, Fanfare (September / October, 1995)

“The music on this disc is all simple, unprofound stuff, but therein lies its appeal. The Boland-Dowdall Duo perform this material with just the right kind of light touch. They succeed in doing what I think is one of the most important tasks of period-instrument performance: to transport the listener back in time. Of course, it is also possible to enjoy this disc from the purely instrumental standpoint: two fine performers fully in command of their instruments and captured in realistic, intimate sound.”
C.B. Continuo (February, 1995)

“Subtitled Parlor Music from the Civil War (across the Pond) this is all pleasant stuff and easy on the ear. Jan Boland specialises in early flutes and is playing on a flute with 11 keys by Stephan Koch, Vienna (c.1820). John Dowdall is playing a 19th century gut strung guitar. My family and friends, both musical and unmusical, have enjoyed listening to this disc, partly because of the music but even more, I suspect, because it sounds as though there is a real person on the end of the flute and moreover someone who is having a good time. On hearing such musical and technically competent playing with such a beguiling sound I began to wonder how the Boehm flute ever caught on. Stephen Foster, mostly known for his songs, is here represented by arrangements of some of these and of some of his instrumental works. Variations on popular airs were much in vogue at this period and examples here include Kummer’s Home Sweet Home and Nicholson’s Auld Lang Syne. Having spent my first year’s flute-playing on an eight keyed flute with the help of Rockstro’s book from my local library I was particularly interested to hear Jan Boland’s use of ‘slides’ and ‘sensitive notes’. The programme notes include in part the notice, probably referring to Nicholson’s playing on how to play a set of variations (recently reprinted in Pan) and attributes it to Rockstro, who doesn’t claim it as his own, and he was by no means a modest man. This disc includes a number of pieces by and arranged by Septimus Winner and others. Certainly a recording worth having.” Dennis Clark, Pan–the Flute Magazine (1996)

“This lovely collection of sweet songs revive a simpler era with music kind and gentle.” Rebecca Lindwall, The Cedar Rapids Gazette (July, 1995)

“Charming perfomance. A fetching collection of Americana. Boland’s 11-keyed flute is haunting.” Guitar Foundation of America Soundboard (1996)

h2 style=”text-align: center;”>Rossini, Mozart et al
Serenades from the 19th -Century Salon

on period instruments

Titanic Records: TI-182
Recorded August, 1991 in King Chapel, Mount Vernon, IA.
Release date: 1992

“Best Disc of the Month” (June, 1992)
Alte Musik Aktuell, Regensburg, Germany

Jan Boland, flute; John Dowdall, guitar

The instruments
Flute: by Stephan Koch, Vienna c. 1820. 11 keys.
Guitar: Anton Hasslwanter, Insbruch, circa 1850.


Airs du Barbier de Seville
arr. Ferdinando Carulli
Giacchino Rossini
Canzonetta from Don Giovanni
arr. John Dowdall
W.A. Mozart
Grande Serenade, Op. 82
Mauro Giuliani
Divertissement Op. 68 No. 5
  arr. John Dowdall
Friedrich Kuhlau
Potpourri sur les Motifs de L’Opera
Moderne Belisario
arr. F.W. Arnold
Gaetano Donizetti


“Best Disc of the Month” (June 1993) Alte Musik Aktuel, Regensburg, Germany (January, 1993)

“Another stellar disc has been released by the American Duo. The artists perform in their customary manner, that is to say, superbly. In total, the 66 minute disc contains the best in salon music, including one rarity after the other, making this disc a must for romantic freaks, (particularly with regard to historical performance practice!). Once again, everything is simply splendid.” Alte Musik Aktuel, Regensburg, Germany (January, 1993)

“Elegant and entertaining. Boland’s flute sound is full of warmth and without a hint of the shrillness sometimes heard on a modern flute. Boland’s phrasing is natural and beautiful. Dowdall achieves a delicacy and warmth not often heard from larger, modern guitars. Their impeccable, balanced performances gracefully capture the period music.” Dee Ann Rexroat, The Gazette (July, 1993)


Guilianni, Hummel et al

A Potpourri of 19th-century Salon Music
on period instruments

Titanic Records: TI-161
Recorded September, 1987 in King Chapel, Mount Vernon, IA.
Release date: 1988

“Best Disc of the Month” (June, 1988)
Alte Musik Aktuell, Regensburg, Germany

Jan Boland, flute; John Dowdall, guitar

Available at

On period instruments.  Flutes by Clair Godfroy (Paris c. 1830) and Stephan Koch, (Vienna c. 1820). Guitars by Louis Panormo, (London 1823) and an anonymous German maker (19th-c).


Potpourri de l’opera Les Huguenots
Giacomo Meyerbeer
arr. Arnold
Gran Duetto Concertante op.52
Andante sostenuto [listen]
Mauro Giuliani
Neue Walzer mit Trios nos. 1&2 Johann N. Hummel
Roslin Castle Charles Nicholson
Tambourin François-Joseph Gossec
Study Op. 6 No. 11
Study Op. 35 No. 22
Fernando Sor
Grand Duo Concertant Op. 85
Andante molto sostenuto – Scherzo
Mauro Giuliani
Nocturne Op. 38
Andante cantabile
Francesco Molino
Airs de l’Opera Zanetta Op. 38 D.F.E. Auber
arr. Foreit


BEST DISC OF THE MONTH:  “Jan Boland and John Dowdall have successfully accessed works of the classical period. The result is marvelous; [the music] sounds facile and light without the slightest trace of sobbing excess of senile pathos. The interpretation is very convincing, impressive for its simplicity and sensitivity.” Robert Strobl, Alte Musik Aktuel, Regensburg, Germany

“A must . . . Jan Boland has an excellent fund of breath; her two wooden flutes are a silvery delight. John Dowdall plays {Sor etudes} most poetically.” Fanfare

“Rarely have I heard a recording of such elegance and sonic charm. Jan’s flute has an absolutely captivating timbre, helped of course by the great recording, but the intonation, phrasing & articulation The intonation, phrasing kept the disc on my player all week.” Dr. John Schneider, KFAC-FM, Los Angeles

“The disc is a masterpiece. Boland and Dowdall’s playing is a remarkable example of perfect musical understanding. The somber flute solo Roslin Castle is devoted to a vintage 11-keyed flute by Stephan Koch that proves itself totally tantalizing. I must confess total gratification. One of the best serious recordings of 1988.”Les Zacheis, The Gazette, Cedar Rapids IA

“Perfection.”John McGrody, WOSU-FM, Columbus

“The Boland-Dowdall Duo is the foremost flute and guitar duo performing 19th-century music on authentic period instruments. Particularly sensitive to the nuances of these early instruments, the performers exhibit a very healthy balance between familiarity with their instruments and research into performance practice of the period. Their sounds blend together almost poetically–the recording quality is exceptional.” The Blue Note

“Executed with technical aplomb and a sense of fun.” Alison Melville Continuo (1990)

Miera Kim, Executive Director

Carey Bostian, Artistic Director

[email protected]

Phone to (319) 338-0307

Red Cedar Chamber Music
PO Box 154
Marion IA 52302