Stuart Rose Music


Germany Tour 2017

Stuart Rose takes his audience on a musical tour

The Australian musician in the concert series “Music from all over the world” in Flierlich / Initiator Reinhard Potschinski an ideal companion

Bönen • For the resumption of the series of concerts “Music from all over the world” initiator Reinhard Potschinski had – after the summer break – a special invited guest. On Friday night the Australian Stuart Rose played in the old church Flierich, now the fourth in the series, a musical highlight, which has by many friends of the music become a place in the yearly event calendar. Around forty spectators witnessed the successful Potschinski-concept, which in collaboration with the evangelic church Flierich molded it into a success story.

A special guest was Stuart Rose, because the announced instrumental prowess of the 50 year old Australian from Adelaide commanded total attention. Where usually guitars guide the tone, there was this time the combination of bouzouki, flute and guitar. Alone, the perfection of mastering those (instruments) was worth the entry. Rose revealed in a chat that he plays six instruments to their perfection, he nevertheless is training on the seventh. Unfortunately, all didgeridoo sounds were looped tracks. The audience surely would have liked to have heard the legendary instrument of the Indigenous in action.

What we heard was his lyrics and favored music genres, which are as diverse as his instrumental presentation. It’s the melody, replaced by poetry, exchanged for exoticism. All those fields wrapped up in dense atmosphere were true music enjoyment.

Serious with white shirt and black vest on the one hand, combined with tartan pants. Another indication for his ambivalence towards his musical nature. Rose isn’t just a traveler between music worlds, as he often gets labeled. He is indeed a traveler in constant change of countries and places, as he tells us. From this combination, he creates his themes and develops stories and transfers them into tunes.

For the entry point, he chose flute and didgeridoo in the background – a meditative reflection from the pulpit. The construction similar to the Bolero by Frenchman Ravel – stirring to the last chord. Then “Li Sula”, a nearly ten-minute-long piece, an intoxicating piece, accompanied by short singing intervals. Reinhard Potschinski was included in the whole gig this time, who was the ideal player for the often jam-session resembling pieces and appeared to have lots of fun and contributed to the success of the evening.

With stories from all over the world, the listener imagined himself in Spain when listening to “Al Andalus”, heard Turkish sounds, was transported to Ireland and then hijacked off to New York. All of this is reminiscent of a troubadour and showed an instrumental-poet with an outstanding playing technique. Everything seemingly deliberately, well sometimes even delicately recited, as if a true treasure for him. At the end were encores with heartfelt applause for both performers who can celebrate music. • lö/ translated by Tina Behnke

Westfälischer Anzeiger 21.8.17


Alternatives to Hectic

Stuart Rose in the Otmar-Alt-Museum
by Werner Lauterbach / translated by Tina Behnke

HAMM • A visitor from the other side of the planet gave a guest performance on Saturday night in the Ottmar-Alt-Museum: Stuart Rose from Adelaide, Australia presented his own version of Folk-Country-World music in the event room. The big fireworks display in Maxipark appeared to attract quite a few potential listeners, as an intimate crowd of true music lovers gathered at the stage.

Rose presented ancient sounds from electronic storage: the deep roar of a didgeridoo, created through breathing techniques, embouchure and modulated voice effects, made a musical base on which he added shimmering and flowing melodic phrases with a diverse assortment of flutes. He layered loops from a sampler until a complex soundscape was formed, through circular breathing and enduring tones, from the didge-base. The tree language of the druids, fearlessly discovering the wonders of this world, experiencing beauty, “Liebe wachsen lassen” (to let love grow) – his own compositions gave listeners a few alternatives to our contemporary, hectic lives.

A song for the grandmother

The Australian songwriter could not deny his Irish grandmother Molly too, obvious was the “Celtic” lilt in his voice. Mind you this was only a facet of his spectrum. He was inspired by old American-Country music as well as Blues and on several occasions the characteristic sound of Spanish guitars. Of course, the guitar remains the most important instrument of the travelling songwriter – although here he mainly used the Irish Bouzouki. The organizer, Reinhard Potschinski, was in charge of guitar sounds – when necessary – the rhythmic amplification, harmony and solos.

This required a high sensitivity since the Australian used many established music styles of playing as a base of his performance. His very personal way of phrasing and his idiosyncratic (individual) understanding of rhythms required full concentration.

A song for grandmother, fire-meditation, thoughts of Death-Valley-Visit, Walt Whiteman Poetry and other material like “Bird on the wire” or Willie Nelsons “Crazy”. This, however, was not “only covered” – on the contrary Rose supplied constantly his own version that illuminated emotional details – or gave the Nelson-classic a ragtime corset. An exciting evening of music, which finally rounded off with a traditional Irish love ballad as the last encore.

Westfälischer Anzeiger 21.8.17