Fjeldstad / LSO – Grieg: Peer Gynt (2LP, ORG 45rpm pressing)

# Composer: Edvard Grieg
# Orchestra: The London Symphony Orchestra
# Conductor: Øivin Fjeldstad
# Vinyl (1958 / 2012)
# Number of Discs: 1
# Format: Flac
# DR Analysis: DR 14
# Label: Original Recordings Group / London
# Size: 1.01GB (24/96) + 267MB (16/44.1)
# Recovery: 5%
# Scan: yes
# Servers: FileFactory, FilePost

From the label:

Peer Gynt is the incidental music to Henrik Ibsen’s 1867 play of the same name, music written by the Norwegian composer Edvard Grieg in 1875. Considered to be Norway’s greatest classical composer, Grieg, in the immortal Peer Gynt Suites, captured the rising of the sun, the lamenting of a death, and, in “The Hall of the Mountain King,” the imagery of a chase scene. His works contained what are yet today readily recognizable “tunes.” Here, conductor Øivin Fjelstad leads the London Symphony Orchestra in a performance presented at 45 RPM on a double LP set. Limited edition of 2,500 numbered copies.

From the Speakers Corner website:

No matter how often one hears it, who can ever fail to enjoy “Morning Mood” from Peer Gynt, the incidental music which Grieg wrote for Henrik Ibsen’s play of the same name. And who can fail to want to accompany the hero on his musical journey through the uncanny world of gnomes and trolls and the seductive exoticism of the Orient, and to return to the stillness of the North after a long sea voyage? And who better to capture the magic of romantic Scandinavian music than Grieg’s compatriot, the unforgettable Øivin Fjeldstad, under whose baton the London Symphony Orchestra conjures up the highly changeable moods with a rare forceful presence.

The velvet-smooth, highly sonorous strings play with delicately shaded dynamics and impressive spatiality, while the wonderfully gentle winds transport the listener to the atmosphere of the concert hall. There’s no escaping this music; once you have sat down to listen to it, it will hold you enraptured right up to the very last note.


The incidental music Edvard Grieg composed for Henrik Ibsen’s play Peer Gynt (1867) stands, along with his Holberg Suite and Piano Concerto, among his most universally popular orchestral works. By common consent, the music itself achieved far more for Ibsen’s vast and bewildering dramatic poem than any mere stage performance alone could have done, and therein lies a problem. For as Ibsen’s English biographer Michael Meyer writes, Grieg’s music “turns the play into a jolly Hans Andersen fairy tale,” one thing its author would certainly never have wished for. And the critic and playwright George Bernard Shaw, a fervent advocate of Ibsen’s works, similarly concluded that in his music Grieg “could only catch a few superficial points in the play instead of getting to the very heart and brain of it.” That may well be the case, but Grieg’s Peer Gynt incidental music has nevertheless become a universal favorite, and it is not difficult to understand why.

Norwegian dramatist Henrik Ibsen decided to adapt his verse drama for performance at the Christiana (Oslo) Theatre in 1874, recognizing that his sprawling five-act play would benefit greatly from the addition of a musical score. Grieg’s music was first heard there in February 1876, but the initial production run was radically curtailed after fire destroyed the sets and costumes. The score, however, was enthusiastically received by the critics, and Grieg subsequently saw an opportunity to establish a separate identity for the music itself and drew from the more than two dozen numbers of the complete work two concert suites, Ops. 46 and 54. Conductors sometimes assemble ad hoc suites of their own as well.

The most popular numbers are “In the Hall of the Mountain King” (a textbook example of the dramatic potency of cumulative crescendo and accelerando, illustrating Grieg’s fondness for Germanic orchestral effects), in which Peer Gynt bargains for his life after the assembled Trolls call for his blood, and the highly evocative “Morning Mood” with its lovely flute solo and expansive orchestral language — the music depicts, incidentally, not a fresh Nordic sunrise, but rather a Saharan dawn in Act IV of Ibsen’s drama! Other memorable moments include the fragile lyric utterances of “Solveig’s Song,” the beguiling “Anitra’s Dance,” the poignant “Death of Åse,” “Peer Gynt’s Homecoming: Stormy Evening at Sea,” and his eventual “Shipwreck.” As Anthony Burton writes, “the curtain falls as Peer’s long and eventful journey finally comes to its end.”

Track list:

Side One
01 – Prelude, Op. 23 No. 1
02 – Morning Mood, Op, 23 No. 13

Side Two
03 – a) The Death Of Ase, Op. 23 No. 12
b) – Anitra’s Dance, Op. 23 No. 16
04 – In The Hall Of The Mountain King, Op. 23 No. 7

Side Three
05 – Ingrid’s Abduction And Lament, Op. 23 No. 4
06 – Arab Dance, Op. 23 No. 15

Side Four
07 – a) Peer Gynt’s Home-Coming, Op. 23 No. 19
b) – Solvejg’s Song, Op. 23 No. 11
08 – Dance Of The Mountain King’s Daughter, Op. 23 No. 8

Recorded at Kingsway Hall
Originally mastered at Decca Studios by The Decca Record Company Limited
Engineered by Alan Reeve and Cyril Windebank
Produced by Christopher Raeburn

Limited edition of 2500 numbered copies
Mastered from the original analog tapes by Bernie Grundman
Double 180-gram audiophile vinyl LPs cut at 45 RPM, pressed at RTI

Ripping Info:

All vinyl is cleaned on a VPI 16.5

Technics SL1200-MK5 (modified)
– Rega RB300 arm with RB700 wiring
– Michell Tecnoweight
– SoundSupports armboard
– Trans-Fi Audio ResoMat
Shure V15VxMR (with Jico stylus)
SimAudio Moon 110LP preamp
Native Instruments Audio4DJ USB interface

Processing: Sound Forge 10, ClickRepair (manual mode only), iZotope RX2

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34 thoughts on “Fjeldstad / LSO – Grieg: Peer Gynt (2LP, ORG 45rpm pressing)”

  1. thanks a lot, dear TheNightOwl.
    Tin Ear just have ripped this famous rendition from the Decca re-release in Ace of Diamonds series (16/44 only).
    it could be interesting to compare.

          1. thank you for both your tips and kind advice.
            i have edited and tagged Tin Ear’s 16/44 rip> so it bears somewhat later date, as follows:
            25.04.2013 17:27 143,419 cover.jpg
            25.04.2013 17:46 686 Grieg Peer Gynt Decca SD 111 LP.qua
            25.04.2013 17:46 2,084 LPImage.flac.cue
            04.05.2013 04:29 scans
            25.04.2013 17:42 25,526,773 Track01.flac
            25.04.2013 17:42 20,197,225 Track02.flac
            25.04.2013 17:42 18,948,740 Track03.flac
            25.04.2013 17:43 12,610,344 Track04.flac
            25.04.2013 17:43 10,520,001 Track05.flac
            25.04.2013 17:43 17,858,474 Track06.flac
            25.04.2013 17:44 25,369,388 Track07.flac
            25.04.2013 17:44 11,978,528 Track08.flac
            25.04.2013 17:44 21,119,162 Track09.flac
            25.04.2013 17:44 9,498,119 Track10.flac
            14 File(s) 173,772,943 bytes
            3 Dir(s) 115,055,779,840 bytes free

            at that time Tin Ear (his real name is AFAIR Fred) had usually cut his rips into the separate tracks.
            now he almost always shares the non-cut sidewise rips.

      1. Rachmaninov, I have your Ace of Diamonds rip and it is quite wonderful. Thanks a bunch!

        I’m interested in pooryourick’s impressions to know if it is worthwhile to download Night Owl’s Original Recordings Group 45 rpm version. My Wi-Fi is not terribly fast so I have to really want something before downloading.

        1. Just an update, I downloaded Night Owl’s Original Recordings Group 45 rpm version and I like it better than the Decca Ace of Diamonds version. It’s warmer and a little more dynamic, otherwise the two versions are very close. Decca made great records back in the day. Of course different turntables and cartridges, too.

            1. The Carmen-Suite comes from Whatever, not from me…
              I don’t understand your question about uncut and full sides. I often offer operas as sideA, sideB, etc… because makes no sense for me to split operas in parts of few minutes.
              And I don’t understand the mentioning of missing difference btw. my rips and Steve’s rips. We both, rip only vinyl, but we have different rigs…can you precise your question?

              1. My question was about the terminology that you are using: “non-cut sidewise rips.” that was mentioned in a previous comment here.

                As regards to Rach vs Steve: I know and love that you both rip LPs only, the question is “is there any difference between the quality of files that you get from yours and those that Steve get from his rips?”

                1. non-cut sidewise rips – I think it explains its self, what it is, don’t you agree?
                  The difference btw. Steve’s and my equipment, if there is one, is only sonically. I think, technically we are both on a very high level…the only difference could be in sounding a little different, what is not a bad thing. See it this way: what is the difference btw. a Ferrari and a Lamborghini and wich is better?

  2. Thank you.

    “So what is noticing?
    A pinpoint of awareness,
    The detail that stands out amid all the details.
    It’s catching your sleeve on the thorn of the thing you notice
    And paying attention as you free yourself.”
    “Several short sentences about writing” by Verlyn Klinkenborg

  3. Nightowl – Steve,

    I got this downloaded before my PC got an awful case of hiccups.
    the main thing I noticed first is the different places in Peer Gynt where they start it.
    Admittedly, I think LSO is a better orchestra than Boston Pops, although Fiedler is no slouch. Fjeldstad does a very fine job, and I enjoyed it very much. To you much thanks!

    man, whatever, I hate these captcha gizmos!

  4. Captchas are no problem here, and I’m happy to get these rips using whatever method you choose to release them in. Hell, you put that much work into your rips and all we have to do is type a captcha. What a nice deal for us!

    Thanks for this and your other gems!

  5. Whatever,
    my remark about ‘key captcha’ is not a criticism of you or your work. I know why you use it, and that is OK.

    Do I need to give a medical resume of why my eyes are old, my hand is not steady, and only my right one works at all. My concern is one of physical ailments.
    That does not cause me to love and appreciate less your work! You are the BEST BAR-NONE!

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