The Story
“You have a heart condition.” A bewildered, surprised atmosphere filled the hospital room in the heat of summer. “But I don’t feel anything…” As if in a dream, a green door appeared around the corner, different from all the others. I looked up and read three letters on the sign – and without knowing how or why, the story of this black record you are holding began to be written. It said ICU.
To this day I remember the slight chill of the air conditioning, the green you would rather see in a film about doctors, and the stark realisation that imprints itself on your soul when you cross the threshold of such a door. You want out. In the end it was a story with a happy ending. My path led on to the Czech Philharmonic and to other people. This is the vinyl release of Dvořák’s work with the story of those people.
The idea of releasing the New World Symphony was born with Martin Kasík (pianist, president of the Chopin Festival). He introduced us to David Mareček (managing director of the Czech Philharmonic) and on to Supraphon, directly to Matouš Vlčinský (classical music producer). We agreed on a project that kept us busy for two years and gave Matouš a hard time at many of the label’s editorial meetings.
We considered recordings by various conductors of the Czech Philharmonic from various periods. Neumann’s “analogue” recording from 1972 builds up superbly, has a wide dynamic range and suits the soft delivery of a turntable – and its original analogue form led to the idea of releasing everything “the old way”, along a fully analogue path. In the end, technical complications led us to a sensitive digital remaster and a DMM cut, with a diamond carving the master into metal.
The project travelled on through European mastering studios and pressing plants. Sound engineer Jan Lžičař joined the production trio, and together we assessed, evaluated and steered the development of the vinyl. Every test pressing went through studio analysis and listening by the three of us in different conditions, on different playback equipment. We were finally satisfied with the result after an incredible 7 cut masters and many months of waiting and work. Honza also prepared a small surprise: a comparative listening of the original tape against the latest generation of Hi-Res (DSD) digital sound processing. With a surprising result – the forty-year-old Studer valve studio tape recorders still do a slightly better job.
For years before the project, Dvořák’s work and its premiere at Carnegie Hall in New York were framed for me by Jiří Šebek’s photograph (Prague Grant, CZECH PRESS PHOTO 2016) of Brooklyn Bridge in the morning. Again and again it reminds me of the tones of a Czech symphony written across the ocean. I am happy that it is Jirka’s photographs you will find on the release. The artwork was fine-tuned by the team of Filip Konečný (known for restoring Kája Saudek’s prints) and his colleague Bohdan Heblík. Of all the variants, their design won – with its atmosphere of distances, journeys and the bridges of the New World.
It was an incredible project: long, full of hard work, waiting and hope. A journey from idea to result on an unprecedented scale. All of us who took part in the release believe it will bring you joy, and I in turn thank everyone who helped this dream see the light of day.
I wish you beautiful moments, peace and good health with Dvořák’s masterpiece.
Martin Šigut
