THE WORLD is still wild about Harry.

And that’s why Glasgow audiences will most certainly find his latest incarnation to be a magical idea.

The SEC Hydro is set to stage Harry Potter and the Chamber of Secrets in Concert.

The show, which is part of a major UK tour, will feature a live symphony orchestra performing, to picture, every note from the second of Harry’s film adventures.

“Audiences will be able to relive the magic of the film in high-definition on a 60-foot screen - while hearing the orchestra perform the unforgettable score by award-winning film composer and Oscar winner, John Williams,” say the producers.

The film, which follows Harry Potter’s second year at Hogwarts School of Witchcraft and Wizardry, was released in 2002.

It went on to become one of the highest-grossing films of all time.

But how difficult is it to perform the music to the movie, while getting it perfectly in synch?

Conductor Justin Freer certainly has the experience to pull off the incredible feet, to take responsibility for the 90 piece orchestra being note – and time - perfect.

Speaking from Los Angeles, he admits the concept of blending film and music to be hugely demanding.

“The composer John Williams has the key to the kingdom as it were in that he created it.

“But when you bring the music into the concert hall you have a new set of challenges.

“All of a sudden you have a ninety piece orchestra breathing life into one of the greatest film scores in history.

“And for the first time you have the dialogue and sound effects broken out. And you have to mix them perfectly.

“To add to that, each hall is different. And our sound engineers face an incredible challenge. It’s a living, breathing craft.”

The American, who is President of CineConcerts and Producer/Conductor of The Harry Potter Film Concert Series, has quickly become one of the most sought-after conductors of film music.

Previous live productions such as Star Wars and Gladiator have been a huge success.

“The single greatest challenge of these sort of concerts is synchronicity, keeping it the way it was intended by the composer,” he expands.

“Harry Potter has so many hit points in the film, so many little magical moments that John Williams has found, and illuminates by melody or a change in volume or tempo.

“In fact there are hundreds of them over the course of the show.

“We have to capture these and to do that we use visual cues which hark back to the Max Steiner days, which help keep it all in time.”

Justin, who has appeared with some of the world’s leading orchestras including the Chicago Symphony Orchestra and the London Philharmonic, was attracted to film scores from an early age.

“I loved the colours and timbres and melody possibilities of this music. I loved music in the grand tradition and the music history of great composer is so connected to film.

“So many greats came from the likes of Austria during the war and continued their work in the film industry.”

He adds, smiling; “But when I was young I did listen to other types of music. Today I still listen to all sorts, from John Legend to John Coltrane.”

Justin admits film music doesn’t always get the credit it deserves.

“It’s taken for granted because we’ve had so much great film music over the years. Some people think the most effective film score is something you don’t notice.

“I don’t necessarily agree with that but I understand where the argument comes from.

“If something fits so well you forget you’re in this world of magic. It’s like a great performance by Robert De Niro.

“If it fits you are drawn into and and immersed in this world and you don’t think about it.”

He adds; “This is what John Williams does so well with his very visceral harmonies he has created with the Harry Potter films.”

Justin admits he has been enraptured by film scores to war movies such as The Great Escape and Toro Toro! just as much as the music of the Star Wars films.

“I think we are very impressionable as children and visible media can grab a young impressionable mind.

“And when you add that to music you can really reach young people out there.

“It’s an art form which can really work well.”

Justin’s experience in performing a range of film scores to audiences such as Star Wars has helped keep the nerve steady. But only up to a point.

“Each time you play with a new orchestra you are almost hitting the reset button,” he says, smiling.

“But working with the greatest musicians in the world is a wonderful thing to experience.”

He admits the performances can only be as strong as the weakest member.

“That’s so true. There is no room for error. The film is the form and when you restore this music and play it live with the film, you have to maintain what was originally intended.”

The excitement of audiences can effect the live music performances.

“The sheer volume of the audience can change the way we need to mix the sound.

“Before you know it you can lose a quote so we present subtitles to allow the concert to breathe a little more naturally.

“And as you would expect, Harry Potter fans are incredibly loud.”

The conductor, who was raised on the beaches of California, admits the responsibility of the live shows can be immensely demanding.

“I can relax, though. I can go swim or paddleboard and the ocean is one of my favourite places to be.

“But at the same time I’m very lucky. These scores are incredible and to share them and reach thousands each night is amazing.

“If the audience loves it, it’s all worth it.”

• Harry Potter and the Chamber of Secrets, The SECC Hydro, December 9.