En b. volvemos con respeto y dedicación al clasicismo de la Santísima Trinidad en las 3B*. Lejos de la ornamentación, cercanos al origen de la jabonería fina.
La base de nuestros jabones ( una base sumamente noble y no detersiva) consiste en la saponificación de aceite de girasol, canola y coco. En todos los casos, con una baja medición de PH (potencial de hidrógeno).
La elección de materias primas para composición aromática nos dan la posibilidad de generar acordes simples y tradicionales, presentes en las principales familias olfativas para aplicación en jabón.
En b. dejamos de lado la coloración para hacer foco en la perfumación.
* "The Three Bs" is an English-language phrase derived from an expression coined by Peter Cornelius in 1854,
which added Hector Berlioz as the third B to occupy the heights already occupied by Johann Sebastian Bach and Ludwig van Beethoven.
Later in the century, the famous conductor Hans von Bülow would substitute Johannes Brahms for Berlioz.
The phrase is generally used in discussions of classical music to refer to the supposed primacy of Bach, Beethoven, and Brahms in the field.
In an article in the Berliner Allgemeine Musikalische Zeitung, Cornelius introduced Berlioz as the third B,
concluding his article with the cheer, "Bach, Beethoven, Berlioz!". Decades later, Bülow composed the following pun to a friend:
"Mein musikalisches Glaubensbekenntniss steht in Es dur, mit drei B-en in der Vorzeichnung: Bach, Beethoven, und Brahms!". B, in German, stands for the note B♭ as
well as for the flat sign. The remark may be translated, roughly, as "My musical creed is in the key of E-flat major, and contains three flats in its key
signature: Bach, Beethoven, and Brahms!" Bülow had been attracted to the idea of a sort of Holy Trinity of classical music for a number of
years, writing in the 1880s: "I believe in Bach, the Father, Beethoven, the Son, and Brahms, the Holy Ghost of music".
He further linked Beethoven and Brahms by referring to the latter's First Symphony as Beethoven's Tenth.
Curiously enough, Niccolò Paganini had even earlier (1838) identified Berlioz as the worthy successor of Beethoven. Indeed,
Hans von Bülow, two years before Cornelius' article, had himself called Berlioz "the immediate and most energetic successor of Beethoven"