Probably it was already about thirty years ago when it could be heard at a concert, and even then only in the studio No. 6 of the Hungarian Radio. Nowadays, anybody can write out in score, in 32 times retarding deceleration, the song of the birds and it is astonishing that in the one hundred and twenty eighths of the presto, Messiaen wrote down the twittering and chirping tunes of the birds only based on listening to his ears. Not to mention the fact how original and unprecedented the music he created of them was and is still … Iván Fischer, for whom this is not really a high-priority hunting ground, realised with exemplary self-discipline, the astounding music of the Genius; however, the names of the soloists of the Festival Orchestra should be mentioned individually. The foundations for the choir of the two horns, the trumpet and the woodwind instruments massed with the bass clarinet were created by the thundering of the gongs, while the diabolic gestures of the piano were exploded with fantastic invention by Roger Muraro by means of his colossal touches. When we were very young, this was the music which diverted us towards classical music, since it preceded with several decades the music revolution of the fifties, bearing the stamp of the geniuses, like Boulez, Cage and Stockhausen and, as a necessity, lead us towards the up-to-date phenomena. The Exotic birds were followed by the music pieces written to piano and organ, like the Trois petites liturgies, the Turangalila and the Saint Francis, but the imprint of the first love made this piece of music, which is bewildering even today, unforgettable. The elementary experience of the present twelve minutes made it impossible to continue to listen to the concert; it was almost a must to wander along the bend of river Danube and listen to the sounds of the birds erupting from the inside.