Rezensionen

Rheinneckar Zeitung: Feinsinnige Gitarrenpoesie, von Klaus Roß, 09.08.19

Zu einer Sternstunde für Gitarrenfans wurde das von dem jungen Australier Jesse Flowers gestaltete Eröffnungskonzert des Internationalen Ferienkurses der Universität Heidelberg. Der seit 2017 bei Thomas Müller-Pering in Berlin studierende Mittzwanziger ist nicht nur Gewinner vieler bedeutender Wettbewerbe, sondern kann auch bereits auf erfolgreiche Debüts etwa in der Londoner Wigmore Hall oder beim diesjährigen Aldeburgh Festival züruckblicken. In der Alten Aula setzte Flowers gleich eingangs mit Bachs Es-Dur-Dreisätzer BWV 998 ein echtes Ausrufezeichen: wunderbar entspannt im ruhevoll fließenden Präludium, höchst verinnerlicht in der fein ausgesungenen Fuge, unaufdringlich virtuos im luzide pulsierenden Allegro-Finale. Reiferes Bach-Spiel hat man von einem derart jungen Gitarristen wohl selten gehört.

Flowers enormer Klangsinn kam auch in der 1927 entstandenen dritten Sonate des folkloristisch wie impressionistisch geprägten Mexikaners Manuel Ponce berückend zur Entfaltung. Ihr träumerischer Mittelsatz (Chanson) verströmte dank erlesener Dynamiknuancen pure Poesie. Trefflich ergänzt wurde Ponces Repertoirejuwel durch das mit elegantem Esprit ausgekostete Rodrigo-Kabinettstück ‘En Los Trigales’ (1938). Für die Musik dieser beiden zentralen Gitarrenmeister des 20. Jahrhunderts besitzt Flowers einen besonderen Touch.

Zwei stilvoll geschliffene Dowland-Fantasien bildeten dann nach der Pause den idealen Vorspann zu Benjamin Brittens 1963 komponiertem ‘Nocturnal’ op. 70 mit seinen ebenso einfallsreichen wie ausdrucksstarken ‘Reflections’ über den berühmten Dowland-Song ‘Come Heavy Sleep’. Flowers gelang eine bei aller Präzision bewundernswert organische und spannungsgeladene Farbenfülle dieses von einer großen Passacaglia gekrönten Werkes absolut nichts schuldig blieb. Francisco Tárregas melancholischer Ohrwurm ‘Lagrima’ erklang bach kräftigem Beifall als bezaubernde Zugabe.

Westfälische Nachrichten: Das spanische Feuer lodert, von Arndt Zinkant, 15.01.18

Wer das klassische Kunstlied mit Gitarrenbegleitung präsentiert, hat meist eines im Sinn: Den Kunstcharakter der Lieder etwas aufzulockern und sich auf ihre volkstümlichen Wurzeln zu besinnen – salopp gesagt: Frack und Abendkleid gegen lockere Garderobe zu tauschen. Der Kunst schadet das nicht. Jedenfalls, wenn man es mit so viel Verve und Könnerschaft zelebriert wie die Mezzosopranistin Julia Spies und der Gitarrist Jesse Flowers (Duo Amaris). „Wandeln auf der Kippe zwischen Volks- und Kunstton“, nannte die Sängerin das. Ihr Publikum im Bürgerhaus war restlos begeistert.

Der junge Gitarrenmeister Jesse Flowers war kongenialer Begleiter, der sich – Gegensatz zum legendären Gerald Moore – nie fragen muss, ob er wohl „zu laut“ sei. Ein Solostück gab ihm Gelegenheit, die Palette seines virtuosen Könnens auszureizen: Die Gitarren-Sonate von Alberto Ginastera (1916-1983). Ein Effekt-Feuerwerk, das die Saiten vibrieren ließ und die Gitarre teils zum Schlagzeug umwidmete.

Osthessen News: For the Anniversary Two Outstanding Artists, by Klaus Scheuer, 27.12.17

-Welch schöneren Kontrast… It is difficult to imagine a more beautiful contrast of, on the one hand, the 65th anniversary Lauterbach/Hohhaus concert and, on the other, a duo from the National Selection of Young Artists. This showed how closely tradition and the present are linked. Duo Szabo - Flowers, made up of the cellist Ildiko Szabo and the guitarist Jesse Flowers proved this with their choice of repertoire, that ranged from Luigi Boccherini to Astor Piazzolla. Since there is a limited amount of original works written for cello and guitar, their programme contained unique, modern interpretations.

The guitar part in Boccherini’s Sonate in C-moll, originally written for cello and basso continuo, played the role of the harpsichord. The dynamic possibilities of the guitar allowed for a very sensitive musical interaction between the two duo partners.

Franz Schubert’s Arpeggione Sonata was actually written for a forgotten instrument that was similar to the guitar but was played with a bow. This role was assumed by the cellist, while the guitar played the part of the piano. A nice idea, very much removed from stiff historicity, which allowed for an unbelievable intensity of sound and precise ensemble playing. In particular, the plucked passages sparked a show of precise interaction between the two instruments.

Astor Piazzolla is surely one of the great composers of the 20th century. His music offers endless facets, maybe even in particular, when not played in it’s original instrumentation. Duo Szabo-Flowers choice a piece from his “Cuatro Estaciones Portenas”, originally written for a complete Tango Nuevo Ensemble. The huge dynamic range of the masterful guitarist Jesse Flowers was electrifying, while Ildiko Szabo on the cello played the melodies in a deeply touching and emotional way.

Alberto Ginastera’s only work the for the guitar is his Sonata Op. 47, which Jesse Flowers played, or perhaps better put: allowed the audience to experience with him. Dynamic energy and percussive power were harnessed expertly by the young musician, just like the virtuosic melodic playing, that the piece demands. …die das Stück verlangt. -

Oberbadische Zeitung: Temperemant and beautiful sound, by Beatrice Ehrlich, 12.12.17

 -Eine wunderschöne Matinee… Ildiko Szabo (cello) and Jesse Flowers (guitar) gave a wonderful Matinee concert on Sunday morning in Burghof.

With a polished sound, great musicality and temperament this Duo was able to dazzle the audience. …aufgenommen wurde, die Zuhörer.-

-Nach der Pause schlägt… The hour of the guitar struck after the interval, with Astor Piazzolla’s multifaceted “Invierno Porteno”. In this piece, Flowers was able to show what makes his playing so special, why he has won so many prizes, also in multi-instrumental competitions. …mit anderen Instrumenten.-

-Was man mit der Gitarre…In the Argentinian composer Alberto Ginastera’s “Sonata for Guitar” op. 47, Jesse flowers was able to show everything that is possible on his instrument. With rubato, expressive dynamic and different extended techniques from soft knocking on the body of the guitar to the highest possible sounds created by flicking the strings beyond the fretboard, as well as with atmospheric dry and soft, almost inaudible sounds, was Flowers able to inevitably captivate his audience. …unweigerlich in ihren Bann.-

Neue Westfälische: Romantic and Night Music, by Christl Rick, 15.11.17

 -Der Titel verriet es bereits… The title of the programme, “Beau Soir” gave it away: a beautiful evening was what the audience awaited, and that is exactly what eventuated. …ganz besonders schön!-

-Der englische Komponist und… The evening began with the music of the English composer and lutenist John Dowland. It was no surprise that his song “Come again, sweet love” received extra applause in the middle of the set.

Afterwards, the guitarist performed “Nocturnal after John Dowland” op. 70. This homage to John Dowland by Benjamin Britten, written 300 years after Dowland’s death, was made up of entirely different harmonies and rhythms. Performed by memory, the audience heard march-like rhythms, rocky sounds and a clear passacaglia. The “Slow and Quiet” ending was particularly impressive - outstanding! “Slow and quiet” - großartig!-

Rheinische Post: Vokalmusik bei der Serenade an der Burg Linn, von Heide Oehmen, 13.11.17

Die Mezzosopranistin Julia Spies und der Gitarrist Jesse Flowers, die als "Duo Amaris" konzertieren, gelten als eine solche Entdeckung.

Das vorbildlich harmonierende Duo begann mit einer Auswahl von Liedern des englischen Komponisten John Dowland (1563? -1626), bearbeitet für Gitarre und Gesang von Michael Ernst. Auch Lieder von Claude Debussy, deren teils flirrende impressionistische Klangfarben Tilman Hoppstock in seiner Einrichtung für diese Besetzung stilsicher eingefangen hat, präsentierten die Gäste. Darüber hinaus überzeugte Jesse Flowers auch solistisch - mit einem komplizierten, recht umfangreichen Solowerk von Benjamin Britten (1913-1976), dem der an der Schwelle zur neuen Musik agierende englische Komponist ein Lied John Dowlands zugrunde legte.

Salzgitter Zeitung: Successful Season-opener, by Martin Winrich Becker, 17.10.17

-Zur Eröffnung der Schloss-konzerte-Saison… To open their concert season, the Fürstensaal Kulturkreis invited Duo Amaris. Two young musicians, Julia Spies and Jesse Flowers, gave a concert with an unusual combination of instruments: Mezzo-soprano and guitar.

Although the combination may sound unusual, in truth it actually isn’t. In the time of Shakespeare, in which John Dowland published his “First Book of Songes and a Musical Banquet”, singers were almost always accompanied by the lute, an instrument very similar to the guitar. The audience heard four songs, containing themes of love, joy, despair and sorrow. With her warm and soft voice the Mezzo-soprano Julia Spies delivered songs such as “Awake, sweet love” or “Come heavy sleep”. The guitarist Jesse Flowers accompanied her with the greatest sensitivity and the finest nuances.

Benjamin Britten’s work for solo guitar “Nocturnal after John Dowland” op. 70 followed. The nine movements were inspired by the music of Dowland. Flowers created a shadow-like atmosphere, employing a “style brise” approach. Every now and then a consonant triad chord was reached, not without much conflict before. Flowers mastered this difficult to interpret work with calm and clearly defined dramatic arc. Guitar playing at it’s finest. Gitarrenklang vom Feinsten.-

Sundsvall Tidning: Guitar Festival: 22 Year Old Enchants Audience, by Susanne Holmlund, 28.03.17

-I den klassiska invigningen… The classic opening ceremony of the seventh Sundsvall Guitar Festival featured a classical concert in its purest, most unadorned form: a stage, a chair, a small microphone - and a musician and his instrument. Not even a music stand; everything was memorised and was expressed through the hands and instrument. The performer was the guitarist, Australian Jesse Flowers, only 22 years old.

The varied program reflected his skills. His deftness and technical security came to light already in the Grande Ouverture by Mauro Giuliani, playful, joyful and vibrant, a little Spanish touch but also tending towards classical piano music. Alexandre Tansman’s Variations un Sur un Theme de Scriabine began as a melancholy jazz ballad with a feeling of autumn in the air, and reflected the soloist's ability to shape the beautiful music.

In Manuel Ponce’s Sonata III the Spanish temperament and musical language came to expression; that which can never really separated from guitar music. For Bach’s Lute Suite BWV 998, which is often played strictly and metric, Jesse Flowers had a graceful and romantic entrance - a freedom of a singular musician who is able to enjoy the music with the audience. With Toru Takemitsu’s Equinox we ended up in a Japanese Zen garden, where the small islands of music seemed to float around in silence, alongside Western and folk music, and not least the sound of the Koto, a Japanese instrument. And just when the audience thought it couldn’t get any better, the Argentine Alberto Ginastera’s Sonata for Guitar op. 47 was most impressive: this piece had both minimalism and tongues of flame, impact glissandi, harmonics, bird and percussion sounds, and displayed the guitar as a powerfully loud instrument.

All this was controlled by Jesse Flowers without a tremor of the hand. This much is already in place: technical brilliance, clear voice leading, the exquisite control of shades - soft sounds, but also fiery and dramatic playing where sparkling phrases grow out of his instrument. He will please many listeners to come. … många lyssnare framöver.-

Darmstädter Echo: Tender Plucking for the Future, by Stefanie Steinert, 17.05.16

-Ob Bachsche Fugenkunst…Whether it was Bach’s artful fugal writing, romantic poesy or modern South American music - the five substantial works Jesse Flowers performed demonstrated not merely a masterful technique, but also musicality and an understanding of the music he was performing. In Bach’s Lute Suite BWV 998, Variations un Sur un Theme de Scriabine by Alexandre Tansman (1897-1986), Fantaise Hongroise by Johann Kaspar Mertz *1806-1856) and Sonata III by Manuel Ponce (1882-1948) Flowers was able to identify himself through his emotional personal stamp on each of the works. The audience were able to gain assumedly unexpected impressions of the art of the classical guitar.

Flowers was able to emphatically express Tansman’s emotional palette, from sentimental to dramatic, with a smooth sound. Stylistically appropriate vibrato was used for Mertz’s Viennese style, and in Ponce’s complex Sonata he was able to impress with his virtuosity and fully transparent sound and effortlessness.

The congenial guitarist ended his programme with the Argentinian Alberto Ginastera’s (1916-1983) Sonata for Guitar op. 47,  a work inspired by free tonality and Argentinian folklore. In this piece Flowers demonstrated every conceivable modern performance technique, using the guitar as a percussion instrument at times, with precision and lit a true firework made of Argentinian dance rhythms …wahres Feuerwerk argentinischer Tanzrhythmen.-

Darmstädter Echo: Fine Painting on the Guitar, by Silvia Adler, 29.01.16

 Photo Caption: Jesse Flowers won the Prinzession Margaret von Hessen Competition. This photo was taken during a rehearsal at the Akademie.

 -Musikalische Rafinesse und tiefe Innerlichkeit… Musical finesse and deep inwardness: at the prize winners concert of the 5th Prinzessin von Marget Hessen Competition, the young guitarist Jesse Flowers enchanted the audience.

The art of the quiet note dominated at the prize winners concert of the 5th Prinzessin von Margaret von Hessen Competition. The winner of the latest edition of the competition, open to all students at the Akademie für Tonkunst Darmstadt, was the guitarist Jesse Flowers. The young Australian, in the class of Tilman Hoppstock, already stood on the same stage as a freshly awarded holder of the Scholarship of the Darmstädter Music Prize only a few months ago.

The secret of this charismatic guitarist lies in his extraordinarily fine musical sensitivity, with which he interprets repertoire from the baroque era to the present. Flowers possess the ability to emotionally connect with each piece and explores their atmospheric essence to the fullest. It is a special art of musicianship to be able to bring not only sounds, but also meditative silence itself, to life. With great inner calm Flowers played Bach’s Prelude BWV 998, originally written for the lute. He effortlessly mastered the technical difficulties of the baroque passages, which he gave a light elegance and smooth cantabile. Despite the relatively simple texture, through convincing dynamic structure and clear phrasing Flowers delivered an interpretation with strong expressivity.

Strong expressivity and inwardness were combined in Flowers’ interpretation of Tansman’s Variations on a them by Scriabin. The rarely played Fantaisie Hongroise by the romantic composer Johann Kaspar Mertz was the most flashy piece that the guitarist played, both full-bodied and refined at the same time.

Undaunted by the extremely wide range of repertoire he performed, he was fully capable of applying the same polished sound throughout the whole program and celebrated an unusually rich range of colours. Flowers sensitivity to the use of timbre and colour gave his interpretations of works from the twentieth century by Ohana, Takemitsu and Ginastera a special quality. …Ginastera ihre besondere Qualität.-