20th century
Baroque
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20th century
21st century
Solo repertoire
Piccolo
Alto flute
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Baton René-Emmanuel
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
Bacchus, Peter
Bacri, Nicolas
Baker, Michael Conway
Baksa, Robert
Barber, Samuel
Barrere, Georges
Bartók, Béla Viktor János
Baton, René-Emmanuel
Beaser, Robert
Bennet, Richard Rodney
Berg, Gunnar
Berio, Luciano
Bernofsky, Lauren
Bernstein, Leonard
Bloch, Ernest
Bolling, Claude
Bon, Maarten
Bonis, Mel
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Boulanger, Marie-Juliette
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Passacaille for flute and piano, Op. 35
Passacaille for flute and piano, Op. 35
Rhené-Baton: Passacaille for flute and piano, Op. 35 was written in 1924 and dedicated to Louis Fleury, one of the most significant French flutists of the early 20th century.
He was the founder of the Société de Concert des Instruments à Vent and famously premiered Debussy’s Syrinx. His refined, non-vibrato style was the ideal match for Rhené-Baton’s Breton-inspired neo-classicism.
The piece gained significant pedagogical standing when it was later selected as a required contest piece (concours) for the Paris Conservatory, ensuring its place in the standard training of generations of French flutists.
The year 1924 represented a peak in Rhené-Baton’s dual career as a world-class conductor and a regional composer. Although active in Paris, Rhené-Baton was fiercely proud of his Breton roots. In 1924, his compositions were defined by a "Celticism" that avoided cliché. The Passacaille utilizes the rigid Baroque form of the passacaglia but infuses it with the modal, folk-like colors and misty atmospheres of the Brittany coast.
The choice of a Passacaille (a set of variations over a repeating ground bass) reflects the 1920s trend of Neo-Classicism in France. Like his contemporaries, Rhené-Baton looked back to 18th-century forms to find order following the chaos of World War I.
Baton René-Emmanuel
Rhené-Baton (born René-Emmanuel Baton: 1879-1940) was a prominent French composer and one of the most influential conductors of the early 20th century. He was a central figure in the Parisian musical "Belle Époque" and a fierce advocate for the music of his contemporaries.
Born in Courseulles-sur-Mer to parents of Breton descent, he felt a profound lifelong connection to Brittany. This regional identity became the primary emotional and thematic wellspring for his compositions.
At the age of 19, he entered the Paris Conservatoire, where he studied piano under Louis Diémer and music theory under Théodore Dubois. Although he had formal training, he was often considered a "self-made" composer who refined his craft through his close associations with Guy Ropartz and the Impressionist circles of Paris.
While he was a gifted composer, Rhené-Baton achieved international fame primarily through his baton. From 1916 to 1932, he was the Music Director of the prestigious Orchestre Pasdeloup in Paris. Rhené-Baton conducted the world premieres of seminal works, including Maurice Ravel's Le Tombeau de Couperin (1920) and Albert Roussel's Second Symphony. He frequently collaborated with Sergei Diaghilev, conducting performances for the legendary Ballets Russes.
Rhené-Baton’s compositional style is a blend of French Impressionism and Breton folk influence, characterized by modal melodies, evocative atmospheres, and clear, classical structures. Among his most notable compositions: orchestral work "Pour la rande d'Ouessant", the piano suite "Vieille chapelle en Cornouaille", and the violin sonata in G Major.