Greig - Peer Gynt : Oivin Fjeldstad : London Symphony Orchestra - 180g LP


Greig - Peer Gynt : Oivin Fjeldstad : London Symphony Orchestra - 180g LP

Product no.: SXL2012

In stock

Greig - Peer Gynt : Oivin Fjeldstad : London Symphony Orchestra - 180g LP
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Speakers Corner / Decca - SXL 2012 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Limited Edition - Pure Analogue Audiophile Mastering - Pressed  at Pallas Germany

Speakers Corner 25 Years Pure Analogue  This LP is an Entirely Analogue Production

The Absolute Sound Super Disc List     TAS Harry Pearson Super LP List

Grieg: Peer Gynt Incidental Music To Ibsen's Play - Fjeldstad/LSO

Fjeldstad's record was one of really outstanding early Decca stereo LPs. The LSO is very sensitive, and the tender string playing in Oveig's Song is quite lovely. The conductor begins in Hall of Mountain King rather slowly but builds up a blaze of excitement at the end and that justifies his conception. This recording contained the wide dynamic of the final crescendo at a demonstration quality. This is a recommendable disc and has a vividly clear transfer.

 

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.

This excellent DECCA recording, now available in a limited edition, will surely be sold out within no time!

Musicians:

  • London Symphony Orchestra
  • Øivin Fjeldstad (conductor)

Recording: Februar 1958 at Kingsway Hall, London by Cyril Windeback
Production: Christopher Raeburn


The London Symphony Orchestra conducted by Oivin Fjeldstad performing Grieg Peer Gynt Suite.

Selections:
1. Prelude, Op. 23, No. 1
2. Morning Mood, op. 23, No. 13
3. The Death of Ase, Op. 23, No. 12
4. Anitra's Dance, Op. 23, No. 16
5. In the Hall of the Mountain King, Op. 23, No. 7
6. Ingrid's Abduction and Lament, Op. 23, No. 4
7. Arab Dance, Op. 23, No. 15
8. Peer Gynt's Home-Coming, Op. 23, No. 19
9. Solvejg's Song, Op. 23, No. 11
10. Dance of the Mountain King's Daughter, Op. 23, No. 8

Greig - Peer Gynt - Oivin Fjeldstad / LSO -180g LP

 

20 Years pure Analogue
 
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head 20 Years pure Analogue
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
 
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
 
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes. 
 
Vinyl’s newfound popularity has led many other companies to jump on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source from which to master: CDs, LPs, digital files and even MP3s. 
 
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive. 
 
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source! 
 
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers. 
 
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers. 
 
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
 
 
PALLAS
 
Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade!  

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