01 - The lute player (words by Andrew Lang, music by P. Croton)
02 - Do I dare (words & music by P. Croton)
03 - Doubts (words & music by P. Croton)
04 - Searching for Dalza (music by P. Croton)
05 - Wandering man (words & music by P. Croton)
06 - Is it time to move on? (words & music by P. Croton)
07 - As befits a man (words by Langston Hughes, music by P. Croton)
08 - A moment like no other (words & music by P. Croton)
09 - Now o now (words by John Dowland, music by P. Croton)
10 - She moved through the fair (words traditional, music by P. Croton)
11 - Thoughts (words by Theresia Bothe & Peter Croton, music by P. Croton)
12 - Fire (words by Langston Hughes, music by P. Croton)
13 - Georgia Dusk (words by Langston Hughes, music by P. Croton)
14 - Lullaby (words & music by P. Croton)
LUTES & GUITARS
6-course lute by Michael Lowe, 1992 (track 4)
7-course lute by Stephen Gottlieb, 1995 (track 10)
13-string theorbo (bass lute) by Andreas Holst, 1994 (track 1 & 3)
early-classical guitar by François Roudhloff, ca. 1825 (tracks 2, 5, 14)
electric jazz guitar, Guild, 1966 (tracks 1, 3 – 14)
electric guitar, Eko, ca. 1972 (tracks 5, 12)
"There are many great moments for everyone in this CD! (And you have to hear Peter sing...)"
Hopkinson Smith - lutenist & professor of lute, Schola Cantorum Basiliensis
"Peter Croton’s songs are beautiful! He is a wonderful musician and should be known all over the world. Theresia Bothe interprets his music wonderfully too!"
Buddy Elias - Anne Frank's cousin, actor
The German Lute Society
Newsletter 4/2012 (excerpt)
(original in German)
"The CD opens with the beautiful voice of Theresia Bothe. …
This is not an early music recording as such, but has a dialogue with it. This has not so much to do with the use of lutes and theorbos, as it does, for example, with the tribute to the early Renaissance in the instrumental piece ‘Searching for Dalza’, and naturally with Croton’s focus on bringing together old and new, folk and jazz, and lute music, etc. Thus, I warmly recommend ‘The lute player and other songs’ to all who wish to expand their musical horizons, who love subtle music, and essentially to everybody."
The French Lute Society Newsletter September 2012. complete
(original in French)
"The title of this CD is taken from the first song, and surprisingly, the date of the text is… 1901 (My sweet lute in my hand, etc). The music is written by Peter, who is returning to the passion of his youth: folk music and jazz. As on numerous pieces on the CD, he superimposes an earlier style with a more modern one (but of the last century (!) if one thinks of folk music of the years 1970-80…), and in a manner that is harmonious and homogeneous: regular arpeggios and quasi-improvised counterpoint on the guitar and lute, recorded in layers by Peter, divided up into regular arpeggios and quasi-improvised counterpoint, and everything with constant attention to beauty of sound. Theresia’s voice, which we got to know a few years ago in Füssen at a concert with Peter, is ideal for the folk song genre: natural, supple, resonant, always touching.
Each piece has its own character: Doubts - the most mysterious, As befits a man - the most jazzy, Fire - the one with the most rock feeling, Georgia Dusk - the most instrumental with its double-stop texture; the two duo songs, Peter's solo ones, the lullaby sweet and lively… The themes of the songs, perhaps less militant than those of the ‘70s are nevertheless timeless: love, destiny, time's passage… But there are two pieces which undoubtedly will speak particularly to lutenists: a very convincing Searching for Dalza, an homage to the Venetian composer who lived circa 1508 in the form of a long rhythmical diminution to a bourdon in the manner of the Calata, Piva and other Saltarellos, as well as the surprising Now, o now, which recalls the words and rhythms of the famous song by Dowland but with a different melody and accompaniment, nonetheless with melodic inflexions that remind us of something…! In short, this sweet and very well made CD offers us a remake of early music from the from the early and late 16th century, and also a very pleasant return to the 3rd quarter of the 20th century, the probable epoch of the childhood or adolescence of most of the lutenists who will read these lines …"