Style Reviews All

Review Simon Cummings 2019 (Mascarade Obscure)

“The most breathlessly exuberant work performed at [the festival], […] a cavalcade of rhythmic counterpoint and metric gear-changing. […] The work’s balance between raucous entertainment and focused musical integrity was absolutely perfect, making for a simultaneously fun yet engrossing experience.” ...more

Review Rainer Nonnenmann 2019-4 (Portrait)

“His solo series Dialogues […] resembles an upgrade of Luciano Berio’s solo series Sequenze (1958-2002) in terms of playing technique. […] Distinctive New Music, […] Beste […] proceeds like a composer-performer”. ...more

Review Lisa Nilsson 2017 (Portrait / Rituel Bizarre)

“Well-written compositions […] with many interesting ideas, […] own little world. […] It is a good feeling to return to the starting point of my project with Musica Vitae. Back to the roots and to my first inspiration […].” ...more

Review Gianluigi Mattietti 2016 (In the steppes of Sápmi)

“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.” ...more

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 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 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

Review Karina Sundkvist 2015 (Dialogues Tremblants)

“Ansgar Beste showed that it is possible to create new organ music without electronics […]. The Acusticum Organ has never sounded like this before, […] he’s not afraid of just this organ or its context rich in tradition.” ...more

Review Aksel Tollåli 2014 (Sandrose)

“Sandrose focused […] on the percussive qualities of each instrument, creating an extremely complex polyrhythmic texture. […] This layering of sounds is an interesting idea, I found […] my enthusiasm for the piece.” ...more

Review Peter Sheppard Skærved 2013 (Pèlerinage Fantastique)

“Other composers are pushing the acceptable technical boundaries harder. […] Ansgar Beste […] has developed an entire language based around the ‘prepared’ string instrument. He follows earlier quartets […]. However, Beste takes this practice to new levels […].” ...more

Review Rudolf Görtler 2013 (Portrait)

“The one who sits opposite you in his studio in a casual and almost roguish manner, must be an immensely hard, almost obsessive worker, gifted with some stubbornness, too.” ...more

Review Otto Paul Burkhardt 2011 (Rituel Bizarre)

“Ansgar Beste […] demonstrated, that the young generation cares delightfully little about old-school permits and prohibitions. […] Beste’s Rituel Bizarre […] shows already an individual musical language. It sounds like a magic ceremonial deep down in a cave, from which only ghostly sound shadows reach our ear […].” ...more

Review Annette Eckerle 2011 (Rituel Bizarre)

“Ansgar Beste […] turns with ‘Rituel Bizarre’ […] the sound expectations connected with the idea of a string orchestra thoroughly upside down. […] This work by Beste is unique in its the­at­ri­­cal imagery.” ...more

Review Mats Liljeroos 2010 (Rituel Bizarre)

“Bes­te’s Rituel Bizarre […] was such a consistently developed study of un­con­ven­tional sound production that one couldn’t help being impressed. Beste is a clearly inde­pen­dent voice.” ...more

Review Réjean Beaucage 2010 (Rituel Bizarre)

“Rituel Bizarre […] brilliantly exploring the textural possibilities of the string instruments with a very organic result; occasionally, one believed to hear wind instruments there, or even electronic sounds.” ...more

Review Gabriele Francioni 2009 (Rituel Bizarre)

“‘Rituel Bizarre’ […] is amazing: everything is built on pizzicati and silenced/stopped strings, deaf yet absolutely expressive sound […] a magma of twelve uninterrupted minutes (!) of intense listening.” ...more