ABSTRACT
The spring of 1952 is often described as a turning point in the evolution of Messiaen's musical language. Creatively stimulated by his contact with the naturalist and amateur ornithologist Jacques Delamain, Messiaen shifted from composing short pieces experimenting with serial techniques to develop a new style using birdsong notations. It was during that same spring of 1952 that Messiaen wrote one last abstract rhythmic experimental work in the form of his musique concrete study, Timbres-durees, with technical help from his former student Pierre Henry. Messiaen was already familiar with the innovations of Schaeffer's studio when he began working with Pierre Henry. He had heard the Symphonie pour un homme seul in 1950 and had attended the first concert of spatialized musique concrete created with magnetic tape in 1951. Messiaen was also regularly featured in radio broadcasts promoting the work of Pierre Schaeffer's studio for musique concrete, giving his opinion on Henry's Musique sans titre and participating in round table debates.
