← Selection for the Nordic Music Days 2016
Six world premieres between February and August 2016 →
Seven reviews during February 2016
Review Christoph Schulte im Walde 2016-2 (Newborn)
“Sounds as fresh as a daisy [,] […] joy of discovery […], desire for experiments, enthusiasm for quirky sounds and for curious treatments of the […] instrument […]. Not as an end in itself, but as a creative, imaginative act, in order to sharpen the sense of hearing […].” …more
Review Christoph Schulte im Walde 2016-1 (Portrait)
“Ansgar Beste is interested in sounds – in new, unusual, well, unheard-of and outrageous sounds. He […] appreciates the profession as a composer: ‘There I am very free.’” …more
Review Hans-Jörg Lund 2016 (In the steppes of Sápmi)
“Delightful, […] Ansgar Beste developed six melodic formulas from the Scandinavian people of Sami […] repeatedly and variedly to a dialogue and finally to polyphony in a long-term acceleration.” …more
Review Verena Großkreutz 2016 (In the steppes of Sápmi)
“Things were cheerful and original in Ansgar Beste’s ‘In the steppes of Sápmi’. […] A curious mixture of vocal timbres, which Ansgar Beste has artfully arranged into, against and through each other. Highlight: the polyphonic finale with its microtonal upward shifts, having an incredibly euphoric effect.” …more
Review Otto Paul Burkhardt 2016 (In the steppes of Sápmi)
“‘In the steppes of Sápmi’ […] gives rise to a chirpy medley full of the joys of life – somewhere between ancient folk cult and weird modernism.” …more
Review Markus Dippold 2016 (In the steppes of Sápmi)
“‘In the steppes of Sápmi’ […] sounds like a mix of mosquito swarm, duck call and elk roaring, which is quite entertaining.” …more
Review Susanne Benda 2016 (In the steppes of Sápmi)
“In Ansgar Beste’s ‘In the steppes of Sápmi‘, the protagonists […] imitate the eternal repetitions of Sami folk songs. That the singers entrust these repetitions to a sort of particle accelerator in the end, makes the piece interesting.” …more