Review Lauri Supponen 2018 (In the steppes of Sápmi)
“Form[s] a good example of […] being sensitive to the balance of powers at play when we trespass in the territory of any minority peoples.”
Review Lauri Supponen 2018 (In the steppes of Sápmi) | Ansgar Beste – composer-researcher" />
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“Form[s] a good example of […] being sensitive to the balance of powers at play when we trespass in the territory of any minority peoples.”
“Ansgar Beste’s In the steppes of Sámpi imagined a forest of joiks and animal noises building into a culminating hymn born, Sibelius-style, of its collective parts.”
“Transformed animal joiks […] Ansgar Beste […] created virtually a train ride through a barren landscape. […] An interesting, but at the same time challenging work […].”
“An extreme, radical will in the use of ‘prepared’ voices […]. Inspired by the ‘joik’ chants […] of the Sami, […] obtaining a dense, shrill, urging polyphony which evoked […] repetitive shamanic rituals, and […] the atmosphere of these barren, inhospitable, windswept regions.”
“In his [work] In the Steppes of Sápmi (2014), Beste is neither imitating nor deconstructing the ritual chants. […] Beste is shaping it to an interplay of compressions and accelerations. That’s interesting to listen to […].”
“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.”
“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.”
“‘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.”
“‘In the steppes of Sápmi’ […] sounds like a mix of mosquito swarm, duck call and elk roaring, which is quite entertaining.”
“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.”
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…
“There is a lushness, originality, a surplus, risk sport, a narrative art, and an unpretentious exuberance with which I can greatly identify.”
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