F.X. Richter was a central number in the so-called Mannheim College of the first traditional period, but small is well known about him before 1740s. From 1722 to 1727, he researched in the Jesuit seminary at Ungarisch Hradisch; soon after that, until 1736, he spent a while in Italy and perhaps in Vienna, where he might have researched with Fux. Richter became a specialist vocalist, a bass, who toiled in small provincial German articles through the 1730s. In 1740 he started operating as vice-Kapellmeister towards the Prince-Abbot Anselm von Reichlin-Meldegg in Kempten, Allgau, although it isn’t known just how lengthy he continued to be there. By 1747 he was operating like a courtroom musician, certainly like a vocalist (of both opera and sacred music), and perhaps also a violinist for the Elector Palatine Carl Theodor in Mannheim. Then he started to make his tag like a composer. He currently had a couple of symphonies released in Paris by 1744, however in Mannheim he steadily developed a status like a author of sacred music, although he continuing to write fashionable secular items, including string quartets, symphonies, and concertos. Richter was also a mentioned instructor, and in the 1760s he had written a composition technique book predicated on Fux’s Gradus advertisement Parnassum. In 1768 he appears to have given up executing to become courtroom chamber composer. Despite his courtroom duties, Richter got time for intensive travel, and he previously little trouble obtaining his music released abroad. Perhaps it is because it had been rather traditional, rooted, though definitely not stuck, in the Baroque design. He was the unusual guy out among Mannheim composers, resisting his co-workers’ reliance on virtuoso unique effects. Completely fed up, in 1769 he got employment as Kapellmeister at Strasbourg Cathedral, and concentrated even more on sacred music in this last stage of his profession, although he also supervised secular music in the prince-bishop’s courtroom and aimed the municipal orchestra.