The prevailing image of Messiaen in the 1930s is of an organist-composer. One of the first things learnt about him is that he was organist at the church of the Trinité in Paris, having been appointed at the spectacularly young age of 22. As the earliest (though not the first) of Messiaen's works to have been published, the short organ piece Le Banquet céleste (1928) is, quite rightly, the focus of close examination for its precocious assurance. The 1930s were punctuated by the substantial organ cycles La Nativité du Seigneur (1935) and Les Corps glorieux (1939), so it is no surprise to find Felix Aprahamian's article for the fifth edition of Grove describing Messiaen as being a ‘French organist and composer”, and later observing that ‘although it was as a composer of organ music that in pre-war years Messiaen's name first attracted attention, he had already composed a quantity of vocal music’. Fifty years later, Paul Griffiths similarly observed that ‘Organ works featured prominently in his output of the next decade [1930s], but so did music about his family’. According to Harry Halbreich, ‘one can say that before 1940, Messiaen was essentially an organist-composer’, while, Malcolm Hayes concludes his chapter on the early orchestral music in The Messiaen Companion by stating that ‘to judge from the idiom of his works written in the 1930s, he had once seemed destined to spend his creative life within the narrow confines of the organ loft’.

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