Dandrieu's Premier Livre de Pièces d'Orgue was printed a year after the composer died in 1738. It contains six suites of pieces in differing church tones; each followed by six versets suitable for performance under the canticle Magnificat. While the Magnificat verses have a logical sequence; the other movements in the suites are somewhat haphazardly planned. Even setting aside the Pascal hymn in the Premier Suite; the remaining pieces have no apparent order; perhaps reflecting a desire to make the publication as generally useful as possible. The first suite's two fugues are the only cantus firmus pieces in the collection and are based on the hymn Ave Maris Stella and the Pascal proclamation Exultet coelum laudibus (CD 1 3 and 4). Like the remaining fugues; which are independent; the style is serious each is marked Majestueusement [sic] and follows the prescriptions of several composers' prefaces from the late 17th and early 18th centuries. While no fugues from this epoch are as carefully crafted as those of the Rouennais organist Jehan Titelouze (Paris; 1623 and 1626); their placing within organised organ masses and hymns; often as the second verset of a Kyrie; Gloria or hymn; demonstrates an underlying association between genre and rhetoric. We see similar associations with the opening movements of each Magnificat set; but they work on two levels. They are austere and reserved solely for a plein jeu combination of stops foundation stops from 16 feet to both mixtures but without reeds. According to André Raison they are to be played solemnly with absolute finger legato. A second rhetorical association is the link between registration and text. It has been mentioned that fugues were often used as the second verse of hymns and in mass sections; and a similar association between a plein jeu and the first Kyrie; Gloria or Sanctus; or the first verse of a psalm or canti