Butterworths Hong Kong Copyright Law Handbook

Completing their Ring cycle on Naxos, Jaap van Zweden and the Hong Kong Philharmonic Orchestra have at last released their much anticipated recording of Götterdämmerung, which proves conclusively that this enterprise was a success. There had been some concern that Wagner's tetralogy would be an insurmountable challenge for this inexperienced orchestra, and that an untried conductor and singers would be unable to give convincing performances from start to finish. Beginning with the release of Das Rheingold in 2015, which was followed by Die Walküre in 2016 and Siegfried in 2017, the performances showed increasing confidence and commitment, not least from van Zweden, who had planned this project since he began his tenure with the orchestra in 2012, but also from the orchestra, which provided consistently solid playing and many moments of sheer brilliance.

David Atherton made a fine reputation for himself as a contemporary music conductor back in his salad days with the London Sinfonietta, nowhere more so than in his three-disc (now two-CD) set of music by Kurt Weill. He certainly hasn’t lost his magic touch in the intervening years. These performances of the two symphonies sweep the (not very full) board. Swift, lean, incisive, and always exciting, Atherton reveals all of this music’s anger, irony, and bittersweet lyricism without a trace of histrionics or self-indulgence. Indeed, a certain coolness is part of the point too. And so in the marvelous Second Symphony, Atherton catches the neo-classical temper of its outer movements with impeccable wit and grace, making the passionate intensity of the magnificent central slow movement all the more shocking as a result.