A memoir of Libor Pesek in the recording studio
NewsA reminiscence of the lamented conductor, who died this week, by Alan Shenton of Virgin Classics:
Libor Pešek made a major contribution to the Virgin Classics label during its shortish life under Virgin ownership. He was one of three new mainstream conductors who Simon Foster signed to the label at the outset in 1987 (the others were Andrew Litton and Jukka-Pekka Saraste). More than just a recording artist, Libor was a friend to the label who went an extra mile or two to make things work when problems arose.
He built on the RLPO’s already considerable recording tradition, delivering not only Czech repertoire but also discs of Britten’s orchestral music and a memorable Strauss Heldenleben. He indulged us by recording my selection of movements from Prokofiev’s Romeo and Juliet rather than simply the suites.
In an era of prolific new orchestral recordings, two of his RLPO discs were bestsellers. Smetana’s Ma Vlast (recorded 1989) was the first to fit on a single cd and therefore an obvious winner. News of a recording of Josef Suk’ s Asrael Symphony (then hardly known) was greeted with joy by London cd stores in the following year, when they were less than keen to make shelf space for another under- selling Beethoven cycle.
The Asrael Symphony proved to be the first instalment of a cycle of Suk’s orchestral music. Outside Liverpool, Libor recorded for us with the Philharmonia: a Ravel disc includes Arleen Auger’s performance of Shéhérazade and a young Christian Tetzlaff can be heard in the Violin Concerto on a disc of Janacek’s orchestral music (Walthamstow Town Hall, 1990). Libor’s Dvořák cycle was shared between the RLPO and the Czech Philharmonic.
Like many in the UK, that’s how I first heard Asrael. I’ve now got 10 or more recordings, but that’s still one of the best – not least due to the bass drummer!
Alan’s reminiscences brought back two memories for me: travelling to Prague with Simon Foster to sign the Virgin/Supraphon deal, whereby the repertoire recorded by the RLPO would appear on the Supraphon label in Eastern Europe, and that recorded by Libor with the Czech Phil would be on Virgin in the West. After 3 bottles of 38% Becherova it was a wonder anyone could sign their names!
The other was being present at Libor’s recording of Dvorak 6 with the Czech Philharmonic where he was using the same score that Dvorak himself used – complete with the composer’s handwritten indication that the first movement repeat was never ever to be done!!
I knew Libor quite well from fairly frquent communal dining with him at the long table in Piero’s Italian Bistro opposite the Phil Hall . I also quite by coincidence gave him a Trial Flying lesson. A quite lovely man, and an outstanding musician . RIP Libor Pesek
And just a couple of months ago, I listened again to his refined, affecting Mahler 9 with Liverpool. Mr. Shenton’s post reminds us of how
many of wonderful recordings there are in the Pesek/Virgin catalogue.
I’m glad you like it. In discussions before planning that, Virgin Classics recognised the boldness of making a Mahler 9 ‘in the regions’.
I bought Pešek‘s Asrael when it was released and had the joy of hearing him and the RLPO perform it on tour at Lincoln Center in 1991. The programme also included Rachmaninov‘s Paganini Variations with Garrick Ohlsson and Tchaikovsky‘s Romeo and Juliet. Heavy programme, yes, but thrilling.
For the record: 1992. I interviewed Maestro Pešek (and Rudolf Firkušny, a Suk student) on the occasion. Leonard Slatkin is leading Asrael in Lyon this week. It seems to be making a comeback.
The Janacek is outstanding, so is the Ravel….I confess my preference for the CDs recorded with the Czech philarmonic over RLPO in the Dvorak cycle…
The Czech sound is lovely. The Liverpool sound developed as the partnership grew. I was coordinator, not in charge of A and R, but I am safe in saying we had to start recording early in Libor’s tenure…. and we had to start somewhere. The order of recording was Dvorak 9, then 7, then 8..all made before any VCL cds were on sale. By the time we got to Mahler 9 a few years later, there was an extra refinement to the playing (noted by Mr Stager, above).