[TR24][OF] Antoine Tamestit, Gürzenich-Orchester Köln/Gurzenich-Orchester Koln, Harry Ogg, François-Xavier/Francois-Xavier Roth - Feldman: The Viola in My Life - 2025 (Classical • Experimental • Minimal Music)

foobar2000 v2.1.6 / DR Meter v0.7
log date: 2025-11-07 05:26:01
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Analyzed: Antoine Tamestit & Gürzenich-Orchester Köln / Feldman: The Viola in My Life
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DR         Peak           RMS       Duration Track
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DR13      -1.00 dBFS   -19.25 dBFS     10:41 01-The Viola in My Life I
DR11      -1.00 dBFS   -17.15 dBFS      9:57 02-The Viola in My Life II
DR12      -1.00 dBFS   -19.16 dBFS      6:18 03-The Viola in My Life III
DR13      -0.99 dBFS   -18.75 dBFS     15:10 04-The Viola in My Life IV
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Number of tracks:  4
Official DR value: DR12
Samplerate:        192000 Hz
Channels:          2
Bits per sample:   24
Bitrate:           5375 kbps
Codec:             FLAC
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Antoine Tamestit
Violist Antoine Tamestit is among Europe's most recognizable players of his instrument. He is especially noted for his wide chamber music repertory, stretching from the Baroque to contemporary music. His recordings are a varied lot, covering music from the Baroque era to contemporary works. In 2024, he performed the viola concerto Viola Saga on the album Joe Hisaishi in Vienna.Tamestit was born in Paris on July 11, 1979. He studied at the Conservatoire de Paris in the class of Jean Sulem and went on for further training in chamber music at Yale University with Jesse Levine and the Tokyo String Quartet and in solo music with violist Tabea Zimmermann. Several major competition wins between 2000 and 2004, including those at the Maurice Vieux International Viola Competition, the William Primrose International Viola Competition, and the Young Concert Artists International Auditions, helped launch Tamestit's career. From 2004 to 2006, he was a BBC Radio 3 New Generation Artist, and in 2006, he received the coveted Borletti-Buitoni Trust Award. He made his solo recording debut in 2007 on the Ambroisie label with the album Chaconne.Tamestit's concert hall appearances have taken him to leading world venues, including the Musikverein in Vienna, the Concertgebouw in Amsterdam, and Carnegie Hall in New York. He has performed with the likes of the London Symphony Orchestra, the Vienna Philharmonic, and the Mostly Mozart Festival Orchestra, playing contemporary works, including several world premieres in addition to standards of the viola repertory, such as Berlioz's Harold in Italy and Mozart's Sinfonia Concertante for violin and viola, K. 364. Tamestit is perhaps even more familiar as a chamber music player. He has appeared at major festivals such as those in Davos and Lucerne, Switzerland, and his partners have included pianist Nicholas Angelic, violinist Gidon Kremer, and the violin-and-cello duo of Gautier and Renaud Capuçon. Tamestit is a member of the Zimmermann Trio.He has recorded for Harmonia Mundi, BIS, Naïve, and a variety of other labels. Tamestit is the dedicatee of a viola concerto by Jörg Widmann, which he premiered in 2015 with the Orchestre de Paris and recorded in 2018 for Harmonia Mundi with the Bavarian Radio Symphony Orchestra under Daniel Harding. On his 2021 album of Brahms' viola sonatas, he was joined by pianist Cédric Tiberghien. Later that year, he was heard with the Akademie für Alte Musik Berlin on a recording of Bach's Brandenburg Concertos. Tamestit performed on albums of chamber music by Telemann, Mozart, and Schumann in the early 2020s. In 2024, he was heard in the viola concerto Viola Saga by film composer Joe Hisaishi on the Deutsche Grammophon album Joe Hisaishi in Vienna. By that time, his recording catalog comprised more than 25 items. Tamestit taught from 2007 to 2013 at the Hochschule für Musik und Tanz in Cologne and has taught at the Conservatoire de Paris (CNSMDP) and the Kronberg Academy.

Antoine Tamestit says: "This work has accompanied me like a secret, an almost silent meditation on what the viola means in my life. Through it I have experienced how much this instrument connects me to listening, to patience, to inwardness. Here Morton Feldman is not composing in order to shine, but so as to make us hear the infinitesimal, the unspeakable – that is what has touched me profoundly, and I want to share it with the listeners."