„Vollends begeistert war das Publikum vom Abendkonzert unter dem Motto 'Remembrance of Things Past' mit Werken von John Dowland, William Shakespeare und Croton selbst. Wie es dem Duo gelang, mit intelligenter Emotionalität und natürlicher Leidenschaft neue Facetten der populären Lautenlieder von Dowland zu entdecken, das löste nachgerade Verzauberung aus, die sich in tosendem Applaus entlud.“
CONCERTO - Das Magazin für Alte Musik
„Die relativ wenigen Versuche, das Lautenmusikrepertoire um Musik des 20. und 21. Jahrhunderts zu erweitern, sind den meisten Spielern und besonders dem Publikum unbekannt geblieben. Umso erfreulicher ist es, hier von vier Liedern berichten zu können, die meiner Meinung nach das Potenzial haben, Einzug in das Repertoire von Lautenliederprogrammen halten zu können. Bei der Komposition der Lautenstimme hat Croton sich keine Zwänge auferlegt und spielt munter und anspruchsvoll drauflos... Während der Lautenist seiner Spielfreude frönt, und die Sängerin (der Sänger) mit ihm auf Augenhöhe duettiert, bekommt das Publikum anspruchsvolle Musik voller Raffinesse zu hören… Die Stimme von Theresia Bothe ist ein Ohrenschmaus, Croton spielt lebendig und blitzsauber, beide musizieren auf’s Trefflichste miteinander. So muß es sein! "
Deutsche Lautengesellschaft, Lauten-Info
TRACK LIST mit Hörbeispielen
John Dowland (1563 – 1626)
Peter Croton (born 1957)
02 Remembrance of things past (text: William Shakespeare)
03 Sleep wayward thoughts*
04 While you here do snoring lie (text: William Shakespeare)
05 Die not before thy day*
06 Say love if ever thou didst find*
07 Now, O now I needs must part**
08 Go crystal tears
09 Time stands still*
10 Fine knacks for ladies*
11 Sorrow stay *
12 Sorrow stay
13 His golden locks time hath to silver turned*
14 Flow my tears
15 All the day
16 Come, heavy sleep
17 The Waking (text: Theodore Roethke)
18 Quietness (text: Rumi, translation by Coleman Barks)
19 Now, O now I needs must part
Derek Lee Ragin appears on tracks 17 – 19.
World premiere recordings: #2, 4, 17 – 19.
* lute solo arranged by Peter Croton.** lute solo arranged by J. Dowland & P. Croton
"This is a disc of many colors. Croton is firmly versed in the lute's culture and history but has happily succumbed to the modern pull of his love of song, so the CD flits between our age and Dowland's. Where Croton takes printed texts for his own compositions he is the renaissance composer, albeit with modern notes and rhythms. Where he sets Dowland's songs to the lute where no lute solo existed before, he sets them with the uncanny wit and style of an anonymous scribe in a renaissance manuscript. "Sorrow stay," for example, would be a delight for any lute soloist if conveniently found in some ancient book. Derek Lee Ragin's tenor is another exciting contrast of modern song - especially in Dowland's "Now, oh now" - with a perfectly subtle renaissance sensibility, in contrast to soprano Theresia Bothe's modern shaping of voice. Croton offers two visions of this song: once with Dowland's melody with Bothe's forthright soprano and the other in Croton's setting, replete with bold strokes of calms and clashes, familiar rhythms against dissonance and resolution.
Thus the music dances on both shores of the 400-year ocean that divides these ages. Croton builds his sound on a light Gottlieb lute with modern wound strings, with a sustain that echoes Bothe's long soprano lines. Croton intrepidly reaches for every bit of nuance in the poems of Roethke and Shakespeare, much as Dowland approached the poets of his day. This is an exciting record, though perhaps not for those of our current HIP persuasion."
Minnesota Public Radio, New Releases
"American lutenist Peter Croton, now living in Switzerland, decided
to add some of his own new songs to the Dowland tradition, and the clear
and supple voice of Canadian soprano Bothe does justice to it all.
Warmly intimate recorded sound."
"This is a very unorthodox recording of John Dowland's lute songs… experimental in several ways… there are absolutely compelling moments here, and this disc belongs in any serious Dowland collection or in that of anyone who simply enjoys speculative modes of performance. The designer of the performance seems to be lutenist Peter Croton, who treats the Dowland songs in various ways: playing them straight, ornamenting them, and adding preludes and central sections. The most immediately unusual thing general listeners may notice is the voice of soprano Theresia Bothe… Her singing is almost vibrato-free (vibrato creeps in as a feathery ornament at phrase ends or as a point of emphasis elsewhere), spot-on accurate when it comes to pitch, and yet well supported from below with just a hint of roughness. It is not a "pure" voice, but it is nevertheless suited to the pitch demands of Dowland's music. Bothe may be a matter of taste, but for some listeners she'll be a matter of serious addiction. If all this is not enough, Croton composes new lute songs loosely based on Renaissance models where the tonality and phrasing are pushed, but the idiom is recognizable… and a set of three at the end, (with) Derek Lee Ragin, also a compelling and distinctive vocalist… there are plenty of really gorgeous moments along the way, and the entire disc benefits from an X-factor related to genuine risk-taking. Sample Bothe's absolutely limpid take on Go crystal tears (track 8), or Croton's orginal setting of Theodore Roethke's poem "The Waking" (track 17), which, like the other Croton pieces, is a world premiere. Add in unusually good lute-song sound that is absolutely clear with a minimum of fuss from Switzerland's Guild label, and you have a really noteworthy offbeat release."
Toccata, July-August 2010
American Record Guide
“Peter Croton and Theresia Bothe have worked together for some years now, and they have a fine partnership. Bothe has a good voice for these songs – pure and sweet.”