Trois petites liturgies de la présence divine

One of his most pivotal and controversial works, it was written from 1943 through 1944, for women's voices, piano solo, onde Martenot, percussion battery, and small string orchestra.

[1] In spite of its sacred texts, it is not a liturgical work and is primarily designed for concert purposes; the composer nevertheless stated that at least individual movements of it could be played during a Catholic service.

The Trois petites liturgies were commissioned by Denise Tual, daughter of Henri Piazza, for the Concerts de la Pléiade in Paris[2] and composed during World War II, between 15 November 1943, and 15 March 1944.

[1] The work was premiered during the Concerts de la Pléiade at the Ancien Conservatoire on April 21, 1945, by Ginette Martenot (onde Martenot, sister of its inventor Maurice), Yvonne Loriod (piano), the Yvonne Gouverné Chorale, and the Orchestra of the Société des Concerts du Conservatoire, under the direction of Roger Désormière.

"[4] Years later Rostand would write that the premiere agitated musical Paris in a frenzy, partly caused by the end of German occupation, and never seen since the heyday of Stravinsky, with Messiaen "acclaimed and crucified at the same time".

[5] In spite of this, critical opinion now judges the work to be one of Messiaen's most accomplished yet undemanding, still rooted in tonality but foreshadowing his later experiments with birdsong, Hindu rhythms and plainchant.