Olivier Messiaen is one of the foremost French composers of the second half of the 20^th century. The music of an intellectual with a broad creative outlook is dominated by religious themes. According to Messiaen’s music scholar Siglinda Bruhn, Messiaen perceived faith and piety as a gift from God and himself as a composer with a religious mission to fulfil.

Cantata Trois Petites Liturgies de la Présence Divine (Three Small Liturgies of the Divine Presence) was composed in Nazi-occupied Paris between 1943 and 1944. The libretto, the texts of which are sacred, was written by the composer himself, but it is not a liturgical work; the main idea is that of divine presence: God is omnipresent. The composer called the first movement of the cantata an “inner conversation”, which aims to awaken the God within us. The second movement brings out the power and strength of the Supreme in a vivid and poignant way. The third movement is a journey towards ecstasy, bliss, expressing love for Him. The manuscript of the score is emblazoned with colour references – the composer saw the colours in the music and wanted the listener to be immersed in its vivid palette. The women’s choir is accompanied by an unusual ensemble of piano, celesta, percussion, string orchestra and ondes Martenot.