This technique also occurs in his earlier Te Deum . Thus, we have both a horizontal complexity of melodic motives and a vertical complexity of contrapuntal strands alluding to other Christmas traditions and contexts. The work has a prayer only with a choir with stamina and smarts. The St. Lorenz chamber choir falls short on both counts. They produce a tone that sounds like a tire losing air.
Major chords sound like augmented ones.
You hear a constant spread. Thus, the texture never clarifies enough to hear the contrapuntal commentary, and the general vocal fatigue tends to lose the narrative coherence of each section. It's like listening to a monotone drawler recite the Bible. Its brevity recommends it. The Messiaen, far more substantial, makes use of chant, rhythmically free bird song, and chorale.