John Wilson interview

You're now an annual highlight of the BBC Proms, which you played recently. How was the experience this year?
It's always the highlight of the year for us, really. We've played the Proms for the last five years on the trot and each year the audience gets more enthusiastic. The only problem is that this increases the pressure each year as the audience has higher expectations.

Is touring something you enjoy?
I love the tours because we get a chance to play in every city in the country and we get to meet people that can't come to London. Also, as an orchestra, we get to play so many nights in a row so it gives us a chance to get really into the music. It's a great atmosphere on the road – like a party.

Do you have any difficulties travelling around with such a big orchestra?
I don't have to deal with any of that – it's all up to the orchestra manager. The logistics of it are a nightmare, though. It takes a whole year to organise. Luckily, everyone in the orchestra is a pro – they all know what they're doing. We've only had one car crash into a ditch.

You're playing the Royal Concert Hall in Nottingham. Do you have any fond memories of the city?
The Concert Hall is generally reckoned by the orchestra as the best in the country. We had a survey between us and we all agreed it was the best. It's an amazing venue with an amazing sound. I don't know if the people of Nottingham appreciate that.

This tour coincides with the new album, Cole Porter In Hollywood. What is it that you appreciate so much about his music?
There are a handful of songwriters in the first half of the 20th century who wrote nearly all of the most important music: Cole Porter, Richard Rodgers and George Gershwin, just to name a few. I've always loved Porter's music because he's a very stylish, classy composer and he wrote all of his own words. Ahead of making this record and doing the tour, I had to look much deeper into his repertoire – not just at the songs I knew, but those that I didn't. His level of invention and craftsmanship is so high right through his entire output. So on this CD you've got the songs that everyone knows, but also stuff that's been neglected that shouldn't have been.

How important do you think these classic songs are to the Hollywood films themselves?
There would be gaping holes and no colour in the films without these songs. I think the songs are the most important elements in the films, especially the earlier films which are a load of songs strung together with witless plots.

How special was it to record the new album at Abbey Road?
I have to admit to taking it for granted because all of our records have been recorded in that studio and I've been working at Abbey Road for 20 years now. We work there because it's the best room in the world to record that sort of music. It's got perfect acoustics, it's not too big, we're in Studio Two where The Beatles recorded – it's incredible. I've even recorded there with Paul McCartney for the 20th anniversary of John Lennon's death, so I've got fairly strong feelings about that particular room.

Do you have a favourite track off the new album?
I really like the Overture from High Society because it's a bit of a workout for the band and I think in that one piece it captures the sound of that whole lost world.

On this album you've also worked with a number of vocalists. Does it become a different challenge once you incorporate a singer?
Yeah, you've got to be sympathetic to the human voice and you have to make sure they get the support they need.

You've already restored a lot of classic film songs for your orchestra. Are there any in the future you'd like to tackle?
There are so many. Every year seems to bring up a new project. Next year I'm going to start working on George Gershwin and all the stuff he did. There are more movies and restoration work than I could ever hope to do.

Was there a particular moment in your life which sparked this love for Hollywood film songs?
I loved all music from a very early age and I've never made a difference between a Beethoven symphony and a Fred Astaire song. So if it was good, I'd respond to it.