How and why Johann Melchior Molter came to Karlsruhe is one of the secrets of his otherwise well-documented life. Molter was a "perfect capellmeister" in the sense of the eponymous famous treatise of the Hamburg music scholar Johann Mattheson. In his early years, Molter became familiar with the style of French music of his time; in Italy, where he drew it a second time during his time in Eisenach, he became acquainted with the current Italian style. Stylistic versatility was the craftsmanship with which Molter moved in all major genres. Although large parts of his vocal works are lost or were destroyed during the Second World War, the surviving cantatas and other works for vocal Molter as a composer, who knew exactly how the human voice comes to it's best advantage. In contrast, the manuscripts of many of Molter's instrumental works have been handed down in large numbers. In addition to about 170 symphonies, solo concertos for various instruments are the largest group of works within Molter's instrumental works. Most of these concerts may have been written for virtuoso court musicians in Karlsruhe and Eisenach and have been performed within the framework of court music practice. All concerts are documents of a Kapellmeister, who mastered the compositional standards of his time on a very high level. That Molter occupies an important place in the history of the instrumental concert, he owes the fact that he was one of the first composers who composed concertos for the clarinet. This instrument was invented at the beginning of the 18th century by Johann Christoph Denner, but it did not prevail until the end of the 18th century in the orchestras. This production commemorates (for the 300th birthday of Karlsruhe) the most important composer of the fan city.