or’at’or’i’o n. (or-uh-tor-ee-oh) a long, dramatic musical composition, usually on a religious theme, consisting of arias, recitatives, duets, trios, choruses, etc. sung to orchestral accompaniment

flor’in n. (flor-in) an English silver coin equal to two shillings; any of various gold or silver European coins

Johann Melchior Molter (1696–1765), German composer of more than 140 symphonies, was from the Thuringian-Saxon* area. His father, Valentin, may have been his first (music) teacher. Belonged to the Chorus Symponiacus under Kantor J C Geisthirt...

In contact with music of the Eisenach court orch. (founded 1708 by Telemann). Entered the service in 1717, as a violinist, of the Margrave Carl Wilhelm of Baden-Durlach; where Molter met his wife, Maria Salome Rollwagen. Won the margrave’s favor, sent with full salary to Italy to study the Italian style (and language?); spent 1719-21 in Venice & Rome, possibly rubbing shoulders with Vivaldi, Albinoni, the Marcello brothers, Tartini and/or Scarlatti. Returned in 1722; appointed Kapellmeister in place of Johann Philipp Kaafer.

German opera was cultivated in Carl Wilhelm’s theater, and young Johann (Molter) directed performances there. From this time period came a number of his compositions, which may have included one or more operas, but definitely chamber music, orchestral works, cantatas and oratorios. The War of the Polish Succession brought about its abrupt end, as Margrave Wilhelm dissolved the Kapelle before fleeing to Basle. Molter lost his job, though he kept his title.

Another Wilhelm, Duke Wilhelm Heinrich of Saxe-Eisenach, found the need for Molter’s musical services the following year: as court Kapellmeister after the death of the previous one. Not long later, someone else’s death would have a much bigger, more direct, impact on Johann – after he and his wife had had eight children together, she passed away. This was the first of multiple hardships over the next few years. Having visited a number of cities in the effort of expanding his repertoire and musical knowledge, Johann received the news of another significant death: that of his former patron Margrave Carl Wilhelm. Then it was Duke Wilhelm Heinrich’s turn, who was succeeded by the Duke of Saxe-Weimar, who dissolved the Eisenach Kapelle. By 1742 Molter found employment in Karlsruhe, and had also found a new wife, whose name again was Maria (Christina Wagner). Being in a less favorable financial position at this time, he overcame lower wages by producing a high volume of chamber works. His condition began to change in the late 1740’s when the grandson of Carl Wilhelm commissioned Johann to help reorganize the court’s musical establishment, eventually giving him a (suitable) 500-florin salary. Additionally the size of his orchestra was increased, with a variety of servants and retired musicians. Perhaps this meant that he would no longer have to compose quite so many chamber works to provide the income that he needed. The increase of musicians entailed the virtuosity on multiple instruments, not to mention the number of performers who could switch instruments.

Ultimately, the number of works that followed after this was rather high, including but not limited to cantatas and symphonies. Molter would remain in his post until he died. He had gone far as a traveler, influenced by a healthy mix of music around the European continent through several years. You may detect similarities in his compositions to music of certain composers and/or nationalities, but at the end of the day that is up to the listener.

Johann Melchior Molter (1696-1765) - Symphony in A Major brought to you by Main-Barockorchester Frankfurt (uploaded 06-30-2019).

*Let’s remember that Germany was not a unified country yet 

Applause to the listeners!