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. He belonged to the "Chorus Symponiacus" under Kantor J C Geisthirt à 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 [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. However long it lasted, the War of the Polish Succession brought about its abrupt end as Margrave Wilhelm dissolved 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 (by the composer) 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

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

Applause to the listeners!

J. H. Roman came from parents of German and Finnish origins, at least by recent reckonings; his last name could have derived from the Finnish area Raumo. His musical beginnings involved the oboe and violin, likely among additional instruments, and membership in his teen years of the royal chapel. Before too long, while Johan still was a young man, a grant from King Charles XII allowed for his pursuit of studies in England. Familiar figures may have crossed paths with him during that time from about 1715 to 1721. He would afterward return to Sweden, where he transitioned from deputy master of the chapel to leader of the court orchestra.

     Before and after this transition, festive cantatas and (a collection of) twelve sonatas (for flute) were written. He also improved the (standard of) the royal chapel during—or following—those years, and by his late thirties he had introduced the first public concerts in Stockholm.

     Upon losing his first wife in 1734, Johan directed his attention once again to traveling outside the country. He ended up in Austria, Germany, France, England and Italy, not necessarily in that order, in the span of two years or so. This had a notable influence on his approach and attitude toward musical style, no doubt reflected in subsequent compositions. His next marriage lasted a little longer than the first, resulting in five children, though death would soon take his wife away from him once more.

     Drottningholmsmusique was one of Roman’s finest works, composed for the royal wedding in 1744, presumably for Adolph Frederik, husband of Lovisa Ulrika of Prussia, sister to Frederick the Great. After retiring from the court orchestra because of growing deaf, the “aging” Johan Roman settled on a small estate near (outside) the town of Kalmar, where he may have spent much of the rest of his life translating theoretical works into Swedish, along with other related activities. He was interested not only in creating his own original music but also in preserving and arranging various works that already existed, making extended use of his personal style.

     Because the man was as humble and modest as he evidently was, not many autographs have been linked to copies of his music (or copies of anything), which made proper attribution much more difficult.

https://www.youtube.com/watch?v=Omw3J7bIMPo 

(Sinfonia D-dur, BeRI nr 24: I. Allegro – Largo)

Applause to the listeners!

Applause to the listeners!