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Just as Ebn Thaher spoke these words to the prince of Persia, they observed the favourite's trusty slave coming with orders for the ladies to begin singing and playing on the instruments, which they instantly obeyed, and all began playing together as a preludium; after which, one of them began singing alone, at the same time playing admirably well upon her lute, having been before advertised of the subject on which she was to sing.
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.
This idea and the method of its development can be found in the symphonic thought which follows the Preludium to the Benedictus of the Beethoven Mass. It will be necessary to make a short digression and explain a portion of the canon of the Mass to enable the reader to understand what follows. During the office of the Eucharist the celebrant repeats certain prayers inaudible to the congregation.
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