A new classical and opera reissue label, Marston was founded by the respected producer and re-recording engineer Ward Marston. In 1997, Mr. Marston was nominated for the “Best Historical Album” Grammy Award for his production work on BMG's Fritz Kreisler collection. According to the Chicago Tribune, Marston's name is “synonymous with tender loving care to collectors of historical CDs.” Opera News calls his work “revelatory,” and Fanfare deems him “miraculous.”
In 1996, Mr. Marston received the Gramophone award for “Historical Vocal Record of the Year,” honoring his production and engineering work on Romophone's complete recordings of Lucrezia Bori. He also served as as re-recording engineer for the Franklin Mint's Arturo Toscanini issue and BMG's Sergei Rachmaninov recordings, both winners of the “Best Historical Album” Grammy.
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A new classical and opera reissue label, Marston was founded by the respected producer and re-recording engineer Ward Marston. In 1997, Mr. Marston was nominated for the “Best Historical Album” Grammy Award for his production work on BMG's Fritz Kreisler collection. According to the Chicago Tribune, Marston's name is “synonymous with tender loving care to collectors of historical CDs.” Opera News calls his work “revelatory,” and Fanfare deems him “miraculous.”
In 1996, Mr. Marston received the Gramophone award for “Historical Vocal Record of the Year,” honoring his production and engineering work on Romophone's complete recordings of Lucrezia Bori. He also served as as re-recording engineer for the Franklin Mint's Arturo Toscanini issue and BMG's Sergei Rachmaninov recordings, both winners of the “Best Historical Album” Grammy.
Born blind in 1952, Mr. Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording, made by the Bell Telephone Laboratories in 1932.
In the past, Mr. Marston has produced records for BMG, EMI, CBS, Biddulph, and Romophone. Now, he is bringing his distinctive sonic vision to bear on works released by his own label. Ultimately, his goal is to make the music he remasters sound “as natural as possible” and “true to life” by “lifting the voices” off his old 78s. Superior liner notes and performances are also part of the plan for Marston, which aims to “promote the importance of preserving old recordings” and make available the works of “great musicians who need to be heard.”
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