CD 1:
Symfonie No. 9 in G major
Symfonie No. 4 in C major
Symfonie No. 3 in E flat major

CD 2:
Symfonie No. 12 in D major
Symfonie No. 7 in F major
Symfonie No. 11 in C major
Symfonie No. 6 in B flar major

There was no shortage of Flemish migrants in Paris in the first half of the 18th century. They were often skilled craftsmen, attracted by the largest market for luxury goods in Europe in what had been an era of peace, stability and economic development since the death of Louis XIV in 1715. The Flemish migrants followed an age-old pattern, as they tended to live in the same neighbourhoods and to seek out each other’s company in various cafés and associations. Some of these were artists: the painters Antoine Watteau (1684-1721) and Nicolas Vleughels (1668-1737) were from Flanders and were able to profit greatly from their Flemish identity and training later in Paris; Joseph Suvée (1743-1807), a painter from Bruges, won the prestigious Prix de Rome in 1771, defeating Jacques-Louis David at that time. What was true for painters was also true for musicians. Hébert Leemans, was originally a citizen of Bruges, as was his contemporary Suvée; they both moved to the French capital at approximately the same time. Leemans was then to play a significant role in the development of the early French symphonic style.