Contained in the corpus of musical literature by this French flutist and composer, stage ballets and vocal music were the least significant. The melodies from some of these particular pieces, however, were copied into manuscripts and used by other composers and performers. La Barre was compared to Marin Marais who attempted to perfect methods for playing the viola through his compositions. Likewise, La Barre's import rests in his attempt to perfect the flute through his compositions. In 1700 he had composed his first opera ballet and by 1705 he had composed his second. During those five years, 1702, La Barre's germinative and hallmark solo suites for the transverse flute were printed. These were the first solo compositions for the flute produced in any country. By 1710 he had already produced his second book of solo flute compositions. The nominal didactic feature of addressing slurring and embellishments on the transverse flute were also first broached by La Barre. His third book was as innovative as the first because of the inclusion of the first trio sonatas for flute and bass to appear in France. It is important to note that La Barre's compositions did not lack quality. Characteristically some works were elegant in their simplicity but were also imaginative, sensitive, and rife with pathos. La Barre was also lauded for his emotive and qualitative playing. ~ Keith Johnson, Rovi