LDV49.1

72 MESSIAEN_THE ORGAN WORKS Although one can sometimes find it surprising, despite their stylistic differences, Messiaen admired and respected Marcel Dupré. With Dupré as his teacher, he learned what the symphonic organ was, its aesthetics and technique. The organ of La Trinité (of which, at a very early age, he was appointed titular organist) was also forMessiaen a field of experimentation that remained dear to his heart throughout his life. Certain features of this instrument (Piccolo and Tierce du positif, 16-foot foundation stops on all manuals) left a lasting mark on his registrations. Although the aesthetics of the symphonic organ strongly influenced Messiaen’s early works, he gradually moved away from them in the course of his development, reverting to them to some extent in his final compositions. It is in the Livre d’Orgue that he is at his furthest remove from this style. It is also in this cycle that Messiaen carries out the most radical experiments: indeed, three pieces can be regarded as integrally serial with regard to pitches, durations and even timbres. Three pieces ( Reprises par interversions, Chants d’oiseaux and Soixante-quatre durées ) use the organ in four distinct divisions coloured differently; three others ( Les mains de l’abîme and the two Pièces en trio ) use it in three clearly differentiated divisions; only one ( Les yeux dans les roues ) uses the instrument in its entirety. Thus, in unexpected fashion (and perhaps without being aware of it), Messiaen reverts to the practices of the French Classical organ school with its duos, trios, quartets, five-part fugues and dialogues. This instrumental style was certainly already present in his previous works, but it has its fullest flowering here.