Biography
Among the works of this French flutist and composer, stage ballets together with vocal pieces occupied the smallest place. Nevertheless, selected melodies drawn from those compositions found their way into manuscript copies that later composers and performers adopted. La Barre’s position invites comparison with Marin Marais, whose compositions refined viola technique; similarly, La Barre’s own significance lies in the way his pieces advanced flute playing. His first opera ballet appeared in 1700, and a second followed in 1705. Between those dates, in 1702, the initial printed solo suites for transverse flute were issued, marking the earliest such solo compositions produced anywhere. A second book of these solo flute pieces had already appeared by 1710. La Barre was also the first to treat slurring and embellishments for the transverse flute in an instructional manner. His third book proved equally groundbreaking by presenting the earliest trio sonatas for flute and bass published in France. Far from deficient in quality, many of the pieces combined elegant simplicity with imagination, sensitivity, and an abundance of pathos. Contemporary listeners likewise praised the expressive depth and refinement of his performances.