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Heart Notes 
Base Notes 
01/06/2019
Meggi
212 Reviews
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Meggi
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"Passion, everybody can do it!"...
...the composer Arnold Schönberg wrote to Hermann Scherchen in 1914 because he disliked the rapid tempi that the young conductor struck while rehearsing the Chamber Symphony No. 1 op. 9 - a work that was particularly close to the master's heart. "But intimacy, the chaste, higher kind of feelings, seems to be denied to most people. This is quite understandable, because the feeling underlying it, the intimacy, must be felt and not merely portrayed!"
This quotation occurred to me during my occupation with Honeysuckle Rose. An opening breeze of white-flowered flowers is taken back within seconds, even disappears behind scratchy rosewood for the time being. Take a breath. Hermann Scherchen, purified after the scolding (and Schönberg at the time went ruthlessly and sometimes maliciously into the details), raises the baton again, but he now strikes much more slowly. The fragrance unfolds leisurely. Deeply. Sensed.
The Schönberg quote goes on: "That's why all comedians have passion, and very few have intimacy" And the intimate comedian is joined by the winking name of the perfume: it refers (as already mentioned) to a somewhat offensive jazz classic from the 1920s. In the fragrance notes, however, Honeysuckle is not listed at all.
Still, I think I can smell it in the front part. My brain may be playing a trick on me, I never had the plant in the garden anyway, only know it reconstructed, so to speak, from corresponding perfumes. But it's no use, I smell (*stomp*) such an impression. So, I hopefully cheated my way around the subject of the honeysuckle and, last but not least, I completely sausaged the Schönberg quote. In the meantime, I have learned that the perfumer has actually - in the absence of usable natural honeysuckle extract - reconstructed such with other components.]
Let's talk about the rose now. I perceive Neuffer's noble rose freshness. That's the kind that even rose-scented hesitants might like. With the "Honey" I leave out the "suckle", because a honey hypothesis can be argued, at least a honey-like sweetness, which should feed itself beside the wax from the orange blossom. Very discreet, nothing is really sweet here.
In the course of the morning, layer after layer of honey-like wax gently shifts into the fragrance, gently breaking open florally. Even the otherwise often penetrating jasmine gets along well. For a long time the orange blossom can only be guessed at as an independent actor before it takes on a certain form. Nevertheless, it also remains mild
From midday onwards, the as-if honey aspect is still on the increase. The wax becomes warm-sweetly homey, while the floral representatives retreat. I fail to smell the vetiver explicitly, but it may be responsible for the "bitter edge", which is very good as a counterweight to the waxy-creamy parts. One could also say: This promotes the unisex idea enormously.
Tart rose remains, moreover a diffuse further florality, which I cannot grasp (I do not like to start again from the honeysuckle...), quiet sandalwood sweetness, a spicy-decent wax bed - and beside all mentioned "Stich". Oh, great. In any case, I find the ending darker, more striking and more voluminous than I would have dreamed. Wax, apart sweet-sour from honey and flower, describes the impression better on other days, but this is no less successful.
This base note is the best thing about the fragrance and makes it a test tip for men and women alike. What I said in my commentary on Flor de Café in epic breadth applies to them in particular: Neuffer's base notes do not serve to "fill up" a fragrance or to save it over the course of the day in a purely quantitative way, but are, in turn, always varied.
Nothing on Honeysuckle Rose is loud or passionate. Everything is deep and soulful. And with this the arch to the introductory paragraph is made for the last time.
PS: Did anyone notice that I didn't say anything about Boronia? um..
This quotation occurred to me during my occupation with Honeysuckle Rose. An opening breeze of white-flowered flowers is taken back within seconds, even disappears behind scratchy rosewood for the time being. Take a breath. Hermann Scherchen, purified after the scolding (and Schönberg at the time went ruthlessly and sometimes maliciously into the details), raises the baton again, but he now strikes much more slowly. The fragrance unfolds leisurely. Deeply. Sensed.
The Schönberg quote goes on: "That's why all comedians have passion, and very few have intimacy" And the intimate comedian is joined by the winking name of the perfume: it refers (as already mentioned) to a somewhat offensive jazz classic from the 1920s. In the fragrance notes, however, Honeysuckle is not listed at all.
Still, I think I can smell it in the front part. My brain may be playing a trick on me, I never had the plant in the garden anyway, only know it reconstructed, so to speak, from corresponding perfumes. But it's no use, I smell (*stomp*) such an impression. So, I hopefully cheated my way around the subject of the honeysuckle and, last but not least, I completely sausaged the Schönberg quote. In the meantime, I have learned that the perfumer has actually - in the absence of usable natural honeysuckle extract - reconstructed such with other components.]
Let's talk about the rose now. I perceive Neuffer's noble rose freshness. That's the kind that even rose-scented hesitants might like. With the "Honey" I leave out the "suckle", because a honey hypothesis can be argued, at least a honey-like sweetness, which should feed itself beside the wax from the orange blossom. Very discreet, nothing is really sweet here.
In the course of the morning, layer after layer of honey-like wax gently shifts into the fragrance, gently breaking open florally. Even the otherwise often penetrating jasmine gets along well. For a long time the orange blossom can only be guessed at as an independent actor before it takes on a certain form. Nevertheless, it also remains mild
From midday onwards, the as-if honey aspect is still on the increase. The wax becomes warm-sweetly homey, while the floral representatives retreat. I fail to smell the vetiver explicitly, but it may be responsible for the "bitter edge", which is very good as a counterweight to the waxy-creamy parts. One could also say: This promotes the unisex idea enormously.
Tart rose remains, moreover a diffuse further florality, which I cannot grasp (I do not like to start again from the honeysuckle...), quiet sandalwood sweetness, a spicy-decent wax bed - and beside all mentioned "Stich". Oh, great. In any case, I find the ending darker, more striking and more voluminous than I would have dreamed. Wax, apart sweet-sour from honey and flower, describes the impression better on other days, but this is no less successful.
This base note is the best thing about the fragrance and makes it a test tip for men and women alike. What I said in my commentary on Flor de Café in epic breadth applies to them in particular: Neuffer's base notes do not serve to "fill up" a fragrance or to save it over the course of the day in a purely quantitative way, but are, in turn, always varied.
Nothing on Honeysuckle Rose is loud or passionate. Everything is deep and soulful. And with this the arch to the introductory paragraph is made for the last time.
PS: Did anyone notice that I didn't say anything about Boronia? um..
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Rachelg
