An interview with

John Wilson

Why did you choose Korngold for this Sinfonia of London return? It’s one of those records that I felt I really had to make. I think the Symphony is a masterpiece; it’s the last great Austrogermanic Romantic symphony and very often misunderstood. Even though there were ten existing recordings of it, we’ve arrived at a greater understanding of Korngold as a composer. So I think that piece was ready for a different take, and a much leaner one. It’s very easy to pour chocolate sauce over Korngold and it’s the last thing that he needs.

It’s a demanding work for the players, but what are the challenges for you?

It’s one of the hardest things you’ll ever play; it’s terrifying! It needs major string discipline

– it has to be played with warmth, fervour and ardour, but at the same time be as clean as a whistle. It’s not remotely syrupy, or any of those misunderstandings that people have about Hollywood ‘syrup’ and all that nonsense. It needs fierce discipline especially in the slow music – the slow music has to have direction, it must never ever sag. Then there are things like the Scherzo, which is devilishly difficult. It’s harder than Walton’s First Symphony. And what about the other two pieces on the disc?

Again, we spent time and trouble getting them as stylish as we possibly could. The Straussiana needs the whole Vienna Philharmonic ‘New Year’s Day’ touch, it really does. With the Theme and Variations, every one of the variations has its own character, so we worked really hard to characterise them.