ABSTRACT
The superstructure of the final version of Livre du Saint Sacrement can be regarded as broadly reflecting the structure of the Mass. Livre du Saint Sacrement clearly belongs to the era of the Monumental Trinity, being composed in the wake of the opera, using ideas formulated during the genesis of the opera, and forming an implicit companion piece with the opera. As with all the Monumental Trinity works, it is a synthesis of Olivier Messiaen's techniques, combining the divergent elements of his language. The doctrine of transubstantiation is, of course, one of the defining mysteries of Catholic theology, and the reason for Messiaen's reticence is, presumably, his own humility when faced with this cornerstone of his faith. Aside from the essentially aharmonic procedure, various harmonic centres stand out amid the wealth of harmonic and melodic resources, just as they do in Messiaen's other monumental works.
