e of the Eucharist the celebrant repeats certain prayers
inaudible to the congregation. These begin during the latter part of the
Sanctus, which immediately precedes the Benedictus, and are connected
with the ceremony of the consecration of the Host. A part of them are
conducted in absolute silence. The choir is not required to be silent
during all the prayers said by the celebrant, and the occasion is
frequently utilized, particularly at high festivals, by the introduction
of orchestral music or a brilliant chorus. The choir is silent during
the elevation of the Host and chalice, which takes place immediately
after the consecration. It is a period of peculiar solemnity, the
congregation kneeling in silent prayer at the signal of a gong. After
the consecration the priest elevates the Host and chalice, and with the
people still kneeling, offers up a prayer silently, the conclusion of
which is as follows: "We most humbly beseech Thee, Almighty God, command
these things to be carried by the hands of Thy holy angels to Thy altar
on high, in the sight of Thy Divine Majesty, that as many as shall
partake of the most sacred body and blood of Thy Son at this altar may
be filled with every heavenly grace and blessing." The central thought
of this prayer is that the sacred elements are borne to heaven by
invisible hands.

In the Beethoven Mass a Preludium for orchestra is introduced, to fill
in the interval while the celebrant is occupied with these silent
prayers. It is an innovation, showing how thoroughly alive Beethoven was
to the development of every phase of his subject. Ordinarily, no
provision is made for this by the composer, the organist being permitted
the privilege of interpolating hymns like the O Salutaris or the Tantum
ergo. The Preludium is so timed that it ends at the conclusion of the
prayer we have quoted, when the sacred elements are in heaven and are
about being returned to earth. It is at this point that the symphonic
thought begins, which at the first bar calls to mind celestial
harmonies. Here we have the tone-figure, as in the Lohengrin Prelude,
given by the violins and flutes in the highest register, beginning in
faintest pianissimo. At the second bar the melody begins to descend,
being augmented in force by the gradual addition of the more powerful
instruments as well as voices when the elements are again on earth. The
Lohengrin Prelude has the same idea, but it is developed to a greater
extent, with a