1773 was a key year for orchestral music. Mozart composed his “little G minor Symphony”, no.25, and began work on the music for the play Thamos, König in Ägypten. In Paris, Grétry perfected the opéra-comique, a genre combining the light and the serious, and completely renewed the musical drama. Is it a mere coincidence that their compositions of that year show the same intensity and dramatic efficacy?

Martin Wåhlberg, at the head of his Orkester Nord, thinks not. Here he paints a bold picture: that of a Mozart taking inspiration from the new French theatre music, while retaining his own exceptional inventiveness and sense of form. The works recorded here enable us to trace the evolution of the emerging symphony, from the French theatre and the German theatre, combing all those elements in a purely orchestra work.