The earliest of the works recorded here is also arguably the most original, the F-Minor Sonata included in Molter’s only publication, a set of six sonatas for violin and continuo that appeared as op. 1 in Amsterdam in 1723 under the rubric Esercizio Studioso. Cast in four movements in the da chiesa mold (slow-fast-slow-fast), the sonata belies the didactic implications of the publication title by calling, in its two fast movements for an exceptionally virtuosic approach, able to encompass three-part fugal writing exceeding in difficulty that of 17th-century virtuoso violin composers, to whom the composer is clearly casting a backward glance. No 17th-century composer, however, would have thought in such long-breathed terms as those achieved by Molter in the remarkable rhapsodic Adagio with which the sonata opens. The sonata is given a fine performance by Nova Stravaganza’s leader Franc Polman, who lacks only the ultimate in technique and tonal security that would do this outstanding work even greater justice.

The three-movement Flute Sonata, a late work dating from after 1742, takes us into a quite different world, that of expressive Empfindsamkeit, particularly in its opening Adagio. The succeeding Allegro, with its wide leaps and range of compass, calls for a juxtaposition of considerable virtuosity mixed with moments of expressive writing, while the final Aria in minuet tempo with two variations also asks for dexterity from flutist Ildikó Kertész, who turns in an accomplished performance throughout.

The two ouvertures, which date from a “middle period” when Molter was Kapellmeister in Eisenach (1734–1741), also make for an effective contrast with each other. Both open with a French overture, that of the C-Minor, a bold, serious movement in which the dotted opening and following fugal allegro make effective use of solo sections for a trio of two oboes and bassoon, and, in their ambivalence between minor and major modes, demonstrate a keen ear for striking modulations. The F-Major work, on the other hand, includes a prominent role for a pair of horns, and has an overture that starts in pompous celebratory fashion before moving into an exuberantly extrovert allegro. The remaining four movements maintain a breezy open air verve and robustness, while the C-Minor includes a graceful Air that once again has difficulty in deciding whether it wants to be in the minor or major. Rampe elicits affectionate playing there and in the other more restrained movements, while inspiring vigorously incisive and well-executed playing where appropriate.

In sum, then, this is a splendid, well-engineered disc that reveals Molter as a fascinating composer able to adapt a not inconsiderable talent to the fast moving changes of style that took place during the first half of the 18th century. As such, it should go high on the “need to get” list of anyone interested in the period.

Brian Robins, FANFARE