You don’t get too many ‘popular favourites’ compilations these days. What was that the impulse for you behind the album?

It’s distinctly old fashioned but, there are some great once-were-repertoire pieces that are falling through the net. It’s also kind of a reminder. When I was a kid, you had records and tapes and you got to know them inside and out because buying something was an event.

John Wilson John Wilson

You formed relationships with your record collection. I had an LP of Karajan called “Philharmonia Promenade Pops” and it had short pieces on it – Chabrier’s España, I think, was the opening track. Originally, I was going to make a record of just those kinds of pieces that don’t get played anymore – what used to be called lollipops. But then when I started investigating out-of-the-way French repertoire specifically – and I do a lot of French music anyway – I realised there was actually a real need for some of this music to be re-recorded and grouped together in a context where you could see the way Debussy affected everybody. So, Debussy’s Prélude à l’après-midi d’un faune became the centrepiece of the album...

This article is available to Limelight subscribers.

Log in to continue reading.

Access our paywalled content and archive of magazines, regular news and features for the limited offer of $3 per month. Support independent journalism.

Subscribe now