The meaning is carried by resonance, not by words. The title gives the ear a frame, but the piece earns it through sound: at 0:00, the first blocks do not describe a cathedral. They teach the listener to hear mass as something that can appear slowly from depth.

By 2:06, the central form has made that idea visible. The piano has become large through recurrence, spacing, and harmonic weight, yet the size is temporary. The release near 2:45 matters because it refuses possession; the structure can be heard clearly only as it starts to sink again.

After 4:04, the late fragments turn the image into a claim about attention. Grandeur is not kept by holding it in place. It is known through its return, partial loss, and final withdrawal. The piece leaves the listener with a wordless discipline: listen long enough, and disappearance becomes part of the same motion as arrival.