Act 129 - Date: 31 December 2994
Section 6: The Return of the N-Team
Part 3: The Astucieux-twins; the Concert
First and Only Division
Ninth Chapter
Characters: (Q-niverse) Thunder Cats, Silver Hawks, N-Team Base, Enterprise-Team, S.H.S.S.S., Plundarrian-Team
Rec Room, casa di Tygra, New Thundera, Milky Way Galaxy, Q-niverse. Stardate 1 049 504.1; December 31, 2994.
A "Thank you," Antonio said, sitting next to her. "Reconnaissance is the key, Gatinha. My brother and I went over and over this on paper and in our minds."
"Chopin told his students that their instruments had to sing. You make your 'cello sing more beautifully than any bird on New Thunderius." The birds from New Thunderius were reputed to have the most beautiful voices in the universe. . . except that humanoid tenors and sopranos were supposed to have even more beautiful voices.
"Thank you, Gatinha. This melody would be nearly impossible without reconnaissance, stumbling over every note."
"That's what happened during the first performance of this piece and during the first performance of my First String Duo in C Major for Violin and Violoncello. Is Guillaume good?"
"Oh, he's great with that oboe of his. Under his power, the oboe is so highly expressive."
"Kind of like that violoncello under your power."
"Thank you, Gatinha."
"Say, you play that thing better than the head of the 'cello section. She's pretty good, but I think you're just a little better. Would you consider a position?"
"Oh, I might."
Beethoven and Jean-Léonard came to Gatinha and Antonio. "Nice 'cello, Antonio," said Beethoven.
Antonio said, "Thank you, Beethoven. Hello, Jean-Léonard."
Jean-Léonard said, "Hello, Antonio. Where's your brother?"
"Oh, he's showing off his oboe to Chatonne."
"Are you ready, Gatinha?" Beethoven asked.
"Yes, I am," Gatinha said. "I've reconnoitred the piece."
"An excellent tactic. We instrumentalists must make more use of it."
"Yes. This has made me feel awful again about failing Chatonne that time."
Antonio put a reassuring arm around her back. "That's all right, Gatinha. She doesn't still blame you for it, does she?"
"No, she doesn't. She forgave me when I understood what it was like. I admit it. The first time I played this, I had never reconnoitred it before."
Jean-Léonard said, "Well, my father, Jean-Luc Picard, had to reconnoitre territory when he was captaining the Stargazer. I still remember it. He taught me good skills. Not only that, he backed my decision to go into music. I learned early that I should reconnoitre the music I played."
Beethoven said, "No matter what the instrument, that is a good skill to have." Chatonne and Guillaume entered. . . Chatonne with her violin, Guillaume with his oboe and its box. They joined the others at the piano.
"Hello, all," said Guillaume. "Do you know how good this girl plays?"
"Yes," said Gatinha. "She's the only person who performed this piece perfectly during the première."
"Well, Guillaume just played his part," said Chatonne. "He's better than good."
"So's Antonio," said Gatinha. "He really knows how to play that 'cello." Her eyes took on a dreamy look. "It's more beautiful than any of those winterbirds near Father's house on New Thunderius." She smiled and stared into Antonio's eyes.
Antonio asked, "Gatinha, could I see the music to your First String Duo?"
"Oh, I suppose. Why?"
"I just want to see what it's like."
"All right, once we finish this up."
"Jean-Léonard just played a part of the third movement of his solo," said Beethoven. "Right before that, he did the violinist's part of the piece that will soon be played here. My ear isn't Thunderian, but I do believe he performed extraordinarily well."
"Good," said Chatonne. "He earns his reputation."
Gatinha said, "We have a great 'cellist and a great oboist here, Jean-Léonard. They each just performed their parts perfectly for the fourth movement of the sonata. What do you think?"
"I suppose," Jean-Léonard said. "Antonio, is the 'cello all you play?"
"No," Antonio said. "I play the violin, also. I started that before I began the 'cello, actually. I practise it, and I enjoy it. I just like the 'cello better, that's all."
"All right. This is a little something that I cooked up. I just played the third movement, Lively and joking, for Beethoven. Do you play the violin as well as you do the 'cello?"
"Not quite, I don't think." Jean-Léonard handed him the string solo for violin. He looked through it. . . reconnaissance. "Hm! Very, very deceptive techniques you use here. Third movement. . . third movement. Here we are. Ah!" He looked the movement over carefully. "Plenty of booby-traps in here. Trying to pull a joke on the player?"
Jean-Léonard smiled. "Well, the joke will be on the player if he does not look the movement over. Entirely. There is a very well covered little trap near the beginning of the coda."
"Yes, I see. Getting the player used to a certain melody in major. Then, you suddenly shift it to minor. Not only that, you shift octaves and make a very difficult position shift. Very clever."
"Thank you."
"He avoided that little trap of his," said Beethoven. "The gap induces suspense, especially in a movement with the speed of a scherzo. Even the sections in minor have a joking quality."
"Have you looked over this, Gatinha?" Chatonne asked.
"Yes, I have," said Gatinha. "I now recognise all your clever little traps."
"Good, Gatinha. I, too, have looked over the work. One can never be too careful."
"Very smart."
"Thank you."
"If I had a violin with me," said Antonio, "I could see if I could do this."
Chatonne said, "Here. Borrow mine."
"Why, thank you, Chatonne." He took the violin and the bow. Gatinha removed his violoncello and his bow from his way. "Thanks, Gatinha." He put the music on the stand that was in front of him; he was on the page marked, 'Movement III. Lively and joking.' "Here we go." The movement started with a relatively simple theme, but Antonio knew the theme would not stay simple for long. The nice, long ledge of the quarter notes and half notes shrank to a much shorter ledge of thirty-second notes and sixteenth notes. This did not bother Antonio, who was prepared to speed up. He also managed to stay at medium volume, as the dynamics marker commanded. He was playing only one note at a time for now, but he knew he would soon have to shift to chords with two notes apiece. This he did so deftly that it almost surprised Jean-Léonard, who had not done it with quite as much ease. Enough ease to be comfortable, but still not quite as much.
As the development section started, Antonio prepared for the enormous break in momentum. . . he slowed down to keep on his feet, but not quickly enough for anyone to notice. Then, when the score stated 'Moderate' above the staff, he instantly slowed to moderate tempo. Jean-Léonard was amazed. Such a skilful slowing at an instant - from nearly the speed of a super-fast, almost as fast as humanly possible, to the much slower moderate - was very rare. Near the coda, Antonio handled the instant switch of keys and octaves without any difficulty at all. And it looked so much easier than the way Jean-Léonard had done it! Antonio had very precise movements. As for the finale to the movement, well, Antonio's excellent performance left Jean-Léonard speechless. It required such prowess with tempo and volume. Jean-Léonard had done it well, but Antonio's form was better than that of the leader of the orchestra. Jean-Léonard began clapping the instant after Antonio had hit the final note. "Very well-done!" said Jean-Léonard.
"I certainly agree," said Beethoven. "It looked so effortless. I wouldn't want detract from Jean-Léonard's excellent performance; it was just as good, except that you show little effort, and it can't be that easy."
"It wasn't," Antonio said. "I really had to concentrate."
Guillaume said, "You've never played anything that hard in your life, have you?"
"Not on the violin. I think Chatonne's piece is a little harder, though. Thank you, Chatonne." He handed the violin and its bow back to Chatonne.
"You're quite welcome," said Chatonne.
"I would have messed it up miserably had I not looked it over first," said Antonio. Gatinha gave him back the 'cello. "Thank you."
"You're welcome," Gatinha said as Antonio picked up his bow. "You play well."
"Thank you."
Natalia and Leonarda approached. "We know that wasn't easy, Antonio," Natalia said.
Antonio said, "It wasn't. It was Jean-Léonard's piece."
"The one Beethoven and Chatonne were looking at?"
"That's right. Everyone, Guillaume's and my cousins are studying how to derive music from chordophones."
"Kind of a complicated way of saying that Natalia's learning the violin and I'm learning the 'cello, isn't it?" Leonarda asked.
Guillaume said, "Of course, anyone would be proud to have such a nice pair of cousins. However, in this specific case, Natalia's and Leonarda's cerebral development is about three times that of ours. Wilykit is going to be surprised when she looks up their educational records; right now, all that's separating Natalia and Leonarda from a degree is two hours of math and a few hours of music lessons."
Antonio said, "Yes. And they have friends - very good friends - their own age who are just entering Thunderian high school."
Chatonne said, "That is very good. What is your major, ladies?"
"We have a double-major of math and music with a minor in foreign languages," Natalia said. "We have already finished our foreign language courses."
"What math are you taking next?"
"Math 486, Beyond Complex Numbers."
"Aha! My sister and I teach that."
"I see."
Antonio said, "Neither Kevin nor Guillaume and I had space in our schedules for that, unfortunately. I really wanted to take it, but I couldn't fit it in. Apparently, we three were the only ones interested."
Chatonne said, "We'll teach you if you want to learn."
Beethoven had been in thought. He now said, "I need a violist somewhere, other than myself. Does any of you play the viola?"
Gatinha said, "I do! I had to promise Chatonne I'd learn the viola if she'd learn the violin. It's part of what convinced her to do it. I've kept up, too. Want me to get my instrument?"
"If it doesn't bother you, Gatinha."
"All right." Gatinha left.
"I suddenly got this urge to begin a piano quintet," Beethoven said. "One pianist, me; two violinists, Jean-Léonard and Chatonne; one violist, Gatinha; and one violoncellist, Antonio."
Wilykit came in and went over to the group at the piano. "Hello, all," said Wilykit. "The whole N-Team should be here shortly. Are you ready?"
"Yes, I believe we are," said Beethoven.
"Where is Gatinha?"
Chatonne said, "She's getting her viola. Beethoven got inspiration."
Wilykit nodded with understanding. She then asked Beethoven, "Do you want to see Link?"
"Yes, I would like to speak with him," said Beethoven.
"Very well. As soon as he comes in, I'll 'divert' him."
"Thank you, Wilykit."
Antonio asked, "Wilykit, what are you going to do about Natalia and Leonarda?"
"I don't know yet," Wilykit said. "I have to do something, but what I don't know. I'm thinking about it." Link and Zelda entered. "Excuse me, please."
"Certainly."
Wilykit went over to Link and Zelda. "Hello, Link and Princess Zelda."
"Hello, Wilykit," said Link. "What is our meeting for?"
"I called everyone here because we may be facing a new threat."
"Oh, God," said Zelda. "Just what we need. Link has to carry the Triforce around with him because Ganon's trying to snatch it!"
"Link, your idea is one of several that Kevin will enact tomorrow," said Wilykit. "You have an idea; Beethoven, Chatonne, and Gatinha have one; Tygra, Cheetara, and the Astutus-twins have one. Wesley has already enacted his plan."
Link asked, "And what was that?"
"Bringing Lion-O back to life. That's why Wes's been gone so long."
"I see."
"Beethoven and Lion-O are going to reveal a cover-up made by our despicable emperor. That's one of the things about which I'm going to talk at this meeting."
"Cover-up, eh?" Zelda said. "I always felt he was hiding something from us."
"It's a big something. Link, Ludwig van Beethoven wants to talk with you."
"Okay," said Link. "Zelda,. . ."
"I'll come along," said Zelda.
"He is at the grand over there," Wilykit said, indicating the piano. "You go on; I have something to which to tend."
Link said, "All right." He and Zelda went over to the piano.
"Hello, Link," said Chatonne.
Link said, "Hello, Chatonne. I can't believe I let you win this thing."
Chatonne smiled. "That's the way the cookie crumbles, Link. Beethoven, this is Link."
"Hello, Link," said Beethoven.
Link said, "Hello, Beethoven!" Link and Beethoven shook hands. "This is the rightful ruler of my land, Princess Zelda Harkinian."
"Hello, Princess Zelda," said Beethoven.
Zelda said, "Hello, Beethoven." She shook hands with the composer. "If that devil gets removed from power, I feel that Hyrule will prosper once more. Once that happens, we, like the Thunderians and Chemistrians, shall aid other peoples to prosper."
Guillaume said, "I'm Cerebraguillaume, the one who caused that. . . stir earlier, Princess."
"Well, I'm sorry you got carted off," said Zelda. "However, that did a lot of good. I feel that it helped in reawakening the spirit of my people."
"All I did was loose my temper."
Antonio said, "I'm his brother Cerebrantonio. I haven't mentioned that I had devised a scheme an instant before Guillaume jumped in."
"Oops," said Guillaume.
"Anyway, what happened after that?"
Link said, "Zelda and I came along. Being the regent, she had the power at least to tell off the soldiers who did that." He shook his head. "I wonder how the Cardassians have survived. They've been treated horribly."
"What is their role?" Beethoven asked.
"Slaves."
"Slaves?"
"Slaves of the so-called imperial government. Their world is not allowed even to have a native regent. In fact, on Cardassia dwell they no longer; they live on some unnamed planet that barely supports them. Their planet Cardassia was given to the Romulans, for the Romulan homeworlds, Romulus and Remus, had elements poisonous to Romulans."
"Almost everyone lives in better conditions than the Cardassians," Zelda said. "But, in some cases, that's not saying much. Cardassians are poorly educated, if educated at all. The planet Ludwig put them on can produce only enough crops to support three-fourths of their population. Jobs are so scarce there; those that do exist can't afford to pay the Cardassian citizens enough to pay for the cost of living, which evil Larry has driven up. Basically, the best way for a Cardassian to survive is to become a slave of the empire. Desperation has allowed the Cardassians to disintegrate from a proud people to little more than a bunch of starving babies."
"How can a ruler allow his people to live in such terrible conditions?" Beethoven demanded.
Chatonne said, "Our father's been trying to get Ludwig to let us Thunderians help the Cardassians. Ludwig's been refusing. MotherBrain let Guillaume off the hook for what he did. Partly, I think it's because Wilykit went to the cerebrum herself. I think MotherBrain wants to avoid putting Wilykit off too much, and that's because Wilykit has such a wide sphere of influence. One sixth of this galaxy and another whole galaxy comprise the Thunderian Kingdom, upon which MotherBrain has always shown much courtesy, and then practically every galaxy knows of us and respects us, thanks to the Astutus-twins."
"Yes," said Zelda. "It's because of your strength, both physical and mental. No one can run the risk of getting you angry. That's what drives that stinking emperor mad."
"Oh, Larry tries to taunt us," Guillaume said. "That stinker's not very popular in these parts. Luckily for him, he knows precisely when it's time to leave."
Beethoven said, "Link, I understand why you weren't at the orchestral rehearsal, but I have just finished a little piece involving the piano."
"Oh?" asked Link, interested. "What is it?"
"I have labelled the title page, 'Symphony number Ten in b minor.' "
"Not just a little piece, then."
"Nor is the piano part so short. In fact, the piano is almost as important as the strings in maintaining the melody and harmony. In the first movement included I some solo periods for the piano, some for the principal violin, some for the principal guitar, some for the principal 'cello, some for each of the four principal woodwinds, some for the principal trumpet, and some for the principal trombone. During the practice, I was extremely pleased by the orchestra's skill; however, during the solo periods, I especially noticed the skill of the principal violinist, that of the principal 'cellist, and that of the principal flutist."
"I see," said Link. "Yes. There are two pianists; this is because of the Tygra-twins' split-orchestra technique. Several people have remarked that I am the better of the pianists."
"Because you are," said Chatonne. "I told the judges that you had inverted that one measure in your mind, because you had, but they didn't care. I've done things like that here at home, Link."
"All right," said Beethoven. "Here's the piano part." He removed an electronic notebook from his pocket, turned it on, and handed it to Link. Link scrolled through the music slowly.
"This does require a good pianist," said Link.
"Will you try it?"
"Yes, I shall."
"Also," said Jean-Léonard, "he gave me something he'd like me to have part of the orchestra practise. I assume it's something that will be part of the discourse this day. It includes piano music."
"All right," said Link. "Cerebrantonio, I see you have a 'cello."
"That's right," Antonio said. "Besides, you may just call me Antonio."
"Yes, Antonio. How good are you?"
"He's very good," said Guillaume. "However, like us, he won't admit it. Also pretty good on the violin."
"I had an ancestor who had to play a 'cello once in a dream," said Link. "Ever heard of the Wind Fish?"
Antonio said, "The name rings some sort of a bell, but I don't particularly know it. Is it Hyrulian?"
"Sort of. Three thousand years ago, my ancestor, whose name was coincidentally Link, saved Hyrule from domination by Ganon and took control of the Triforces."
"That I know of," said Antonio. "I've studied some Hyrulian history. Up until three thousand years ago, the Thunderians enjoyed a very peaceful history. Then, we sank into a very horrible civil war, one that decreased our population by half. Oh, a couple of races vied for peace, but none was to be had until Jaga came along. The spirit of God so led him, it seemed, that we felt as if he were the Son spoken of in the Bible of Earth. Of course, we do not know if he was an incarnation of Jesus of Nazareth, but it eventually made no difference. Jaga had the ability to shame even a member of the Panther race easily. That is very hard for most to do. He made us know that what we were doing was very foolish and stupid. We very quickly changed our ways and became benevolent. For about another thousand years, we knew peace once more and grew into a spacefaring kingdom and then an empire. The empire had no one that could rule like Napoleon or Hitler.
"Then, about two thousand years ago, we met the Plundarrians. It was, to say the least, an extremely disastrous encounter. Unlike us, the Plundarrians had an emperor. His name was Ratilla. The Plundarrians know who our God is. However, they have openly stated that their race has aligned itself with Satan. They seem to have this stupid idea that they can pull Satan out of Hell and drag down God. To this day, they remain tied to that dumb belief. They don't even run the risk of going to Heaven. Every Plundarrian must take the Ten Commandments and directly disobey every one of them as often as he can before death. That's how their system works. They have Satan before God; they create idols of Satan and make that devil look nice; they bow down to Satan and serve him; they take God's name in vain all the time; they don't show any concern at all for the Sabbath; they constantly dishonour their parents, something you would not expect a Thunderian to do; they kill; they commit adultery; they steal; they lie; and they enviously desire specifically what others have. You see what they did even to their own worlds.
"From the beginning, Thunderians and Plundarrians have always been revolted with one another. Upon our attempts simply to inform them of our cultural beliefs in an attempt to bridge the culture gap, the Plundarrians declared galactic war! Even Jaga said that they would pay for their insults against God, and Jaga knew that God really condemned very few to Hell forever unless they were really, really, really bad. That war was terrible, but in the end, the Wilykats, led by Jaga, marched through the Plundarrian capital, destroying the hideous idols that the Plundarrians had created. Once we marched into Rataro's office, he gave up like a coward. The lying rat announced he would purify his empire if we would just give him the chance. We gave him the benefit of the doubt. Once we left, his evil schemes started again. Throughout the rest of Old Thundera's closing history were border-skirmishes, but nothing major happened until the late 1700's, when the planet blew its top.
"Anyway, Link, I'm sorry for interrupting you."
Link said, "That's all right. After my ancestor vanquished Ganon, he left the Kingdom of Hyrule to study in other areas of Hyrule. Once, he was sailing on one of the world's oceans. One evening, he had a dream. I say that with a certain intonation because no one knows if it was really a dream. It was so vivid that he remembered much of what happened.
"In the dream, he was in a shipwreck and was washed onto Koholint Island. I don't remember many of the details; I have his account at home, though. What I do remember is that the Wind Fish slept in an egg on top of the highest peak on Koholint, and my ancestor had to awaken him in order to get off the island. He was visited periodically by this owl, who knew many secrets of the island. Link had to obtain a whistle and learn the Ballad of the Wind Fish, which would awaken the Wind Fish. However, he also had to journey through seven perilous dungeons and obtain the Instruments of the Sirens. I recall that one of them was the Full-Moon 'Cello and another was a marimba, but I don't recall the rest. I need to read the story again to remember everything else."
"What a weird dream to have," Beethoven said. "Supposing, indeed, that it is a dream."
"Yeah, supposing that," said Link. "Several Hyrulian adventurers, both before and after him, have died young in their sleep. One died as recently as a century before my birth. Quicksilver knows it's related to the presence of too much fluid in the area of the brain that causes dreams."
"My mother the doctor has come to the same conclusion," said Jean-Léonard. "She's trying to figure out exactly what caused it so she can prevent it from happening again. Maybe if she and Quicksilver combined their research, it might prove beneficial to finding a quick solution."
"Good idea."
Antonio noted, "A lot of people are entering. How many people are in the N-Team?"
"About ninety-three," Chatonne said. Antonio gave a low whistle. "A couple of Silver Hawks have to stay at Hawkhaven to monitor their systems."
"Are my brother and I members?"
"Why, I haven't thought of that before. I don't know if it's default upon becoming a Thunder Cat or what." She spotted Wilykat, who was nearby. At present, he was merely watching people enter. "Wilykat!" Alert, Wilykat turned his head to her. "Could you come over here for a moment?" Wilykat came over. "I'd like to know something."
"Well, I'll tell you if I know, Chatonne," Wilykat said.
"Antonio just asked me whether he and Guillaume were members by default in the N-Team. I don't know, so I'm asking you."
"Shoot, I don't know." Wilykat crossed his arms and thought. "Wilykit never brought that up, nor did Steelheart a millennium ago. Not when li'l ol' I was around, anyway. I'm the wrong guy to ask, Chatonne." He saw Kevin. "Wait a moment. Kevin might know; I'm going to ask him." Wilykat walked over to Kevin. "Hey, Kev!"
"Hi, Wilykat," said Kevin. "What's on your mind?"
"Antonio wants to know if he and his twin were members of the N-Team by default, since they joined the Thunder Cats."
Kevin thought. "Sorry, pal. I don't know. I think they should, but I can't say. 'Kit may know." He spotted the commander of the Silver Hawks. "Let's ask Steelheart over there."
"Okay." Wilykat and Kevin went over to Steelheart, who noticed their approach.
"Hello, guys," Steelheart said.
Kevin said, "Hello, Steelheart. Got your steel armour back, I see."
"Yes. I managed to talk MotherBrain into it." She smiled. "MotherBrain can't risk an incident with me. Like 'Kit, I have some influence." Kevin grinned back.
Wilykat asked, "Steelheart, are you acquainted with the Cerebra-twins?"
"Yes, quite well. I taught Antonio how to play the violin and the 'cello."
"Really?"
"Yes. I also taught the Tygra-twins, Jean-Léonard, and my own brother."
"Well, Guillaume and Antonio just became Thunder Cats, and Antonio wants to know if he and Guillaume are N-Team members by default. He asked Chatonne; she asked me; I asked Kevin; now, I'm asking you."
"Well, I'm sorry, but I'm not the one to tell you, Wilykat. Wilykit has said nothing about what would happen under these circumstances."
"Okay. Sorry I bothered you."
"That's all right, Wilykat. I'd say 'yes' in a heartbeat if it were my decision to make."
Wilykat returned to the group at the piano. "No luck. I asked Kevin and Steelheart, but neither of them knew."
"I see," Antonio said, getting up. He took his 'cello and carefully laid it flat on a bench. "Guillaume, I'm going to speak with Wilykit about this."
"All right," said Guillaume.
Wilykat said, "I'll come with you, Antonio." Antonio nodded. The two left the rec room. "So, Antonio, what do you like to do?"
"Several things, Wilykat. Playing the 'cello, reading, visiting the Hyrulian countryside. I also enjoy bouncing, swinging, climbing, and doing other stuff in the forest between here and town."
"I love that activity myself," Wilykat said. He looked in the living room. "Hi, Wilykit. What are you doing?"
Wilykit was sitting on the couch in front of the table in the middle of the room. The laptop was in front of her on the table. "Scanning records." Wilykat and Antonio entered. "Antonio, your cousins are doing extraordinarily well."
"Yes," Antonio said. "Wilykit, I was wondering. Did becoming Thunder Cats make my brother and me N-Team members?"
"I've never thought of that," Wilykit said. "I see no problem with doing it like that, provided, of course, you want to be N-Team members."
"Yes."
"Very well. I'll do it that way. I'll have Steelheart add your names to the roll."
"Thank you, Wilykit."
"You're most welcome." Suddenly, the Eye of Thundera awoke, and the Sword of Omens, in whose hilt the Eye was embedded, called. "The Sword of Omens calls." She removed it from the table. "I've never seen the Eye flash in this manner before." She held the hilt of the Sword before her eyes as the apertures in the hilt formed. "Sword of Omens, reveal to me that which disturbs my people. Grant me sight beyond sight." Her eyes shone when the effect began. She witnessed the arrival of numerous Plundarrians, led by Luna, in downtown Tighra and. . . "By God! Wilykat, look!" She handed the Sword to Wilykat. His eyes glowed when he looked through the apertures.
"Oh, holy God, no!"
Antonio's sense of urgency heightened, and Wilykit felt his powerful latent energies, dormant until now, awaken. He was really very powerful, but he normally avoided using his strength unless necessary. "What does the Eye show you?" Antonio asked.
Wilykat returned the Sword to Wilykit. "Stinking Plundarrian slime, headed by none other than Empress Luna. They will soon arrive in Tighra and attempt to sack the city."
"How many N-Team members are here?" asked Wilykit.
Wilykat said, "I'm not sure. All the N-Team Base, most of the Silver Hawks, and all the Thunder Cats are here, I'm sure."
"Good." Gatinha came down the stairs in the hall in front of the living room. "Gatinha, could you come in here?" Gatinha came in the living room.
"Yes, Wilykit?" asked Gatinha.
"Tell Kevin, Steelheart, and Tygra to send out the N-Team Base, the Silver Hawks, and the other Thunder Cats to the front lawn. Luna will very soon warp into downtown Tighra and sack the city with Plundarrian forces. I intend to stop her by whatever means necessary."
"All right, Wilykit." Gatinha ran to the rec room.
"Oh, God," said Antonio. "Wilykit, I don't want my cousins in this."
"Go, then," said Wilykit. "Try to make it fast." Antonio complied by swiftly walking to the rec room. "Feel like a short run, bro?"
"Sure," said Wilykat. "Just a warm-up for pounding on Plundarrians."
"Just don't kill 'em. Rough 'em up, but no killing unless it means saving another life."
"Yes, Wilykit."
* * *
"You're not coming," Antonio said evenly to Natalia and Leonarda.
"I can jump through trees more quickly than you," Natalia argued.
"Tree-jumping is safer than Plundarrian-fighting."
"Come on, Antonio! We'd be all right!" said Leonarda.
"Maybe, but you are still not coming," Antonio said. "If you do, I'll revoke tree-jumping for a week."
"Oh, all right!" said Natalia. "I understand. Go ahead."
"Thank you. Let's go, Guillaume." Antonio and Guillaume left.
Leonarda said, "It's not fair. I'm just as strong as he is."
Beethoven said, "I actually envy you. My father was less of a real father than Antonio is. He's only looking out for your safety."
"Being safe is major-league bloody boring!" complained Natalia.
"Oh, I could think of things that are much worse, Natalia. My father was a drunkard, bad-tempered and abusive."
Jean-Léonard approached, a cunning smile on his face. "You know that Laser Guitar that Bluegrass has?"
"Yes, I do," Natalia said.
"Well, after studying and modifying existing schematics, granted me by Steelheart, I was able to create the Laser Violin." He showed it to Beethoven.
"All that is apparently different is the scroll," said Beethoven.
"Well, there are more differences. I had to install a system to transfer the sound - the dynamics, the tone, the duration, and the tempo - to electronic energy. Just for demonstration purposes, the laser intensity is set to the first setting, basically a light-show. Completely safe. Watch as I play the opening four notes of your Symphony in c minor." He readied the bow on the D-string (the third string). After a slight pause, he quickly played the opening four notes in Beethoven's Fifth Symphony, and the following was emitted from the scroll in laser, the chevron-shaped portion being at the scroll emitter:
The beam harmlessly struck the wall. "Neat," said Natalia. "That looks a little more specific than what Bluegrass's guitar emits. I've seen video recordings of the Silver Hawks' efforts to defend Limbo from Mon*Star's Mob."
"Yes," said Jean-Léonard. "Like I said, it took me some time to figure out how to create a laser-emitting violin. It was easier with the guitar, since electric guitars were rather popular when Bluegrass was growing up. However, I wanted to maintain the look, texture, and sound quality of the violin while adding the energy converters. I can also use this as a phaser simply by inserting a gel-pack into the energy conversion unit. At the right setting, the laser can make the gel a plasma and send it flying out, much like the phasers my father and his officers used. It has a special Thundrillium battery that will hold its charge for several years. It can be plugged in while the energy converters are not in use. I can also use this as a normal violin; I made sure to retain the violin sound. For me, that was the most important detail."
"You did very well," said Beethoven. "What about beaming the eighth notes, sixteenth notes, and so on?"
"For this application, it would only waste energy for the laser to beam the notes," Jean-Léonard said. "It's unneeded. However, it does create slurs, ties, and staccato marks. The force of the musical laser depends on the sequence of pitches, the duration, the volume, and the connectedness. You noticed that the fortissimo mark was there. I had programmed in the tempo and the time signature."
"I seem to recall that neither Bluegrass nor Melodia have that ability with their laser instruments," said Leonarda. "I think you would have a distinct advantage over Melodia because your instrument can produce a music laser showing not only the tones and duration but also the dynamics and the state of connectedness, whether legato or staccato."
"Yes," said Jean-Léonard. "Plus, I have an easy way of tuning this thing." He played each of the four strings, open. The beam revealed that the pitches were correct. "Good. Now, I'm going."
"Your father won't forbid you to leave?" Natalia asked.
"He won't. Besides, I'm old enough to make my own decisions."
Beethoven said, "You take care down there, Jean-Léonard."
"I will, Beethoven. Thank you. See you later." Jean-Léonard swiftly walked out to the front lawn.
* * *
Front Lawn, casa di Tygra.
Wilykit said, "So, everyone's here. Now. . ." The door opened, and Jean-Léonard came out. "Jean-Léonard. Is something wrong?"
"I'm joining you guys," said Jean-Léonard. "I live on this world, and I don't intend to allow those Plundarrians to succeed in attacking it."
"Very well. Your weapon?"
"Similar to Bluegrass's," said Jean-Léonard. "It's something I've been working on for some time." He raised his Laser Violin and played it. The music laser was shot into the sky.
"Ah," said Wilykit. "Very interesting."
Steelheart said, "I see you made good use of those schematics I gave you."
"Yes," said Jean-Léonard. "Of course, I had to alter the organisation to get the system in a violin. That, Chatonne, is the reason for the special violin I had made. I had to make slight changes in the rib design."
"I wondered what you were doing," Chatonne said. "You quite obviously knew fully what you were doing."
Wilykit said, "All right, everyone. We have to run to town, not too far. Wilykat and I will lead the way. I'll tell Luna to get the heck out of Tighra, she'll say no, and all hell will break loose, if you'll pardon my French. Make sure during the run that your weapons are prepared. Above all, I don't want anyone killed! Just injure the enemy so that they won't be able to fight anymore for today if you do hurt someone. Dying fighting us is supposed to give them some sort of honour, but I'm more concerned with MotherBrain, Ludwig, and Larry. They aren't defeated yet. Besides, the Thunderian justice system does not regard killing lightly. The exception is that the person be immediately threatening another person's life. Everyone straight on this?" Everyone nodded in agreement. "Good. Jean-Léonard, we could use a good running tune, maybe a rondò with the moderate, quick, or faster speed."
Jean-Léonard said, "Certainly." He turned off the laser emitter and began playing the violin part of the third movement to Tchaikovsky's Violin Concerto in D Major labelled Finale: quick and very vivacious.
"Perfect," said Wilykit. "Let's go!" Everyone began running along the road to town.
* * *
Downtown, Tighra, D.F., New Thundera.
Luna arrived with her contingent of Plundarrians on the northern sidewalk of lower High Street. "All right, Thunderians!" said she. "If you value your worthless hides, get out of our way!"
The many Thunderians around heard this and were enraged. One very daring Thunderian stepped up to Luna and said, "We demand to know what you are doing here, Plundarrian."
"I am Empress Luna of the Plundarrian Empire, and I have come to make a demonstration, boy. Now, get out of my way!"
He bore his teeth. "What sort of demonstration?"
"This kind! Chilla, give this young man an example of what we do to people who stand in our way!"
"With pleasure," Chilla said. She froze before the overconfident young man could get out of the way. "Abs-s-s-solute zero! Ha, ha!"
"Now, who else wishes to stand in my way?" Luna asked.
A young lady came angrily to Luna and declared, "That is my brother, so-called Empress! Thaw him now!"
"Tug-mug, get this twerp out of my way!" Luna ordered.
"Yes, boss!" said Tug-mug. He raised his Gravity Carbine and shot a blast at the young lady, who averted the ball of energy, ran to him, snatched the carbine, and ripped it apart. "What!"
"Stop her!" Luna ordered. Red-eye grabbed the young lady by the arms.
"Hey! Let go of me!"
"Not on your life," said Red-eye. "Monkian, I'll let you demonstrate what can happen to those who get in our way."
Smiling, Monkian got his mace. "Hoo, hoo! Thanks, Red-eye!" He began swinging his mace by the handle as he ominously approached the young lady, who was unable to move.
"Help!" she cried. All the Thunderians around had already begun to approach the Plundarrians, surrounding them.
"Release her!" commanded another young man.
"Vultureman, now!" Luna ordered.
Vultureman said, "Yes, Luna! Mutants, radiate all through the city!" As if by signal, he fired a shot from his disruptor and destroyed a window.
The Plundarrians managed to subdue the Thunderians. Their disruptors knocked out the unprepared people. They merely knocked out everyone first. . . except for the young lady that Red-eye was holding.
"So," said Luna, "are you prepared to die, insignificant speck?"
"Our ruler will make sure that this crime against us does not go without punishment," the young lady spat. "You intend to deface our city?"
"Yes, kitten. Wilykit won't know about this until it's too late."
"You won't get away with this, Plundarrian!"
"Monkian, bash her brains in," said Luna.
"Hoo, hoo! Yes, Luna!" Monkian swung the mace and whacked the young lady in the head. Red-eye released her upon impact, and she fell to the ground.
"Where's the blood?" asked Red-eye.
"Members of the Wilykat Race are too sturdy to be killed or injured just like that," said Luna. "Their skulls are extremely hard, and the fluid surrounding the brain protects it even from an impact hard as this. I want her dead, to present to Wilykit." She smiled diabolically. "This will show our superiority! Ha, ha!" She heard rapid violin music approaching from the west. "Where's that music coming from?"
"The N-Team!" said S-s-slithe.
"Excellent. We'll kill both of these Thunderian upstarts in their sight! Ha, ha! Vultureman, get our people back here."
"Caw! Yes, Luna," said Vultureman. He got out a handheld radio and activated it. "This is Vultureman. All Plundarrians, meet us back at the centre of town. Caw! Luna's orders." Within moments, all the Plundarrians were back with Luna and the others.
"Red-eye, keep an eye on that girl," said Luna.
"My sensors tell me that she won't be awakening any time soon," said Red-eye. "She'll be out for a couple of hours."
"Chilla, keep an eye on her insolent brother. Make sure he remains iced."
Chilla said, "Yes-s-s, Luna."
* * *
Wilykit was dismayed at what had happened. Luna would not get away with this. Everyone was alive, fortunately, but knocked unconscious by Luna's subordinates. The group had just slowed to a brisk march. She led the group downtown, where the Plundarrians were waiting. That was a straight shot, since they were on the sidewalk of the road coming in from the direction of casa di Tygra. "Well, Wilykit, what do you think?" Luna asked, obviously pleased.
"If you think I'm just going to let this go, you're poorly mistaken," Wilykit said. "You are inhabitants of this nation, just like the Thunderians, and you are subject to its laws."
"Not so! I am the empress of the Plundarrian Empire," said Luna. "We refuse to allow ourselves to be ruled by Thunderians."
"You brought it upon yourselves."
"No, we didn't," said S-s-slithe. "It was-s-s the military. The blasted military! Their disobedience caused our civil war."
"Be that as it may, S-s-slithe, you and your companions have no right to do this. I'm placing you under arrest. Your group has the right to an attorney."
"Shut up!" Luna said. "We do not belong under your jurisdiction!"
"That's not what the imperial government tells me. Anything else?"
"Add bloody murder to that!" Luna said. "Monkian!"
"Yes!" said Monkian. He swung his mace, attempting to gain great momentum before striking his target, the young lady who had ripped apart Tug-mug's Gravity Carbine.
Jean-Léonard was ready in an instant. He turned on his violin to half power and played a Beethovenian melody. The music smacked Monkian's wrist, causing him to toss back the mace and smash Vultureman's foot! "Yow! Caw! Yow! Yow!" cried Vultureman.
"Ooch! Hey!" said Monkian. "That wasn't very nice!"
"It was nicer than what you planned to do to that young lady," Jean-Léonard said. "Back off before I give you a taste of Tchaikovsky's 1812 Overture." He approached the young lady. The Plundarrians cautiously stepped back. "And who's that you froze?"
"Her overconfident brother, apparently," said Luna. "The first idiot to stand up to my arrival. She was the second."
Wilykit said, "Quicksilver, come here and thaw him safely."
"Yes, ma'am," said Quicksilver, obeying. Wilykit approached Luna.
"What are you going to do now, Luna?" Wilykit asked. "We have you outgunned." Luna smiled.
"I'm going to say good-bye, Wilykit!" Luna announced. "Aluro, activate the emergency retreat!" Before anyone could do anything, the Plundarrians were gone.
"Drat it," said Wilykit. "I should've expected them to run like cowards."
Jean-Léonard was examining the lady he had saved. From his mother, he had learned valuable medical skills. "Well, Wilykit, we did prevent them from taking two lives. They simply knocked this young lady out. Quicksilver?"
"This guy will be all right for another few moments," said Quicksilver. He went over to the young lady and examined her. "Uh, huh. Yup. She's all right. It does appear that she sustained a blow to the head, probably from Monkian's mace, but she's not in any danger zone."
"Revive those two," said Wilykit. "Take them to the hospital if you have to. We'll take care of the others."
* * *
Within minutes, everyone was gathered in front of the temple. From atop the steps, Wilykit was reporting to her people that the Plundarrians got away by running like the cowards they were. She also reported that she had a plan for removing the evil emperor from power, which made her people more content. What satisfied them most was that she and much of the rest of the N-Team had arrived in time to stop two murders.
"The two would-have-been victims," Wilykit reported, "are being examined by Silver Hawk Quicksilver. As you may know, Chilla froze one of them, and Monkian knocked the other out with his mace. For your safety, I'm going to have Panthro take charge of teaching you how to defend yourselves from the Plundarrians in case something like this happens again. Thank you for your attention. May you all live long and well." Everyone loudly applauded her as she left. She knew they loved her, and she knew she could not let them down.
* * *
Rec Room, casa di Tygra.
Once everyone had arrived, the entire situation was explained. . . the Syber-Squad, Nuclesís's idiots going to Chemistra, the decided plan for removing Ludwig from despotic power, the Plundarrians' attack. Quicksilver and Jean-Léonard were absent, for they were tending to the two Thunderians who had first fallen prey to the Plundarrians. Wilykit, Steelheart, and Kevin each spoke, as did Beethoven, all four of whom revealed Ludwig's evil doings to the bulk of the N-Team.
Wilykit turned to the large screen in the west end of the room, which was to the left when one entered. It was on so that Quicksilver and Jean-Léonard could keep up with the others. "How are they coming along, Quicksilver?"
"All right," Quicksilver said. "There were microscopic cracks in the young lady's skull. They're not large enough to cause any trouble, but I'm repairing them anyway before reviving her. As for the young man, I'm warming him. He'll be well."
Jean-Léonard said, "I now recognise them. Tygra-twins, you should, too. The girl's our leading 'cellist, the boy our leading flutist."
"The Astucieux {ahs-tü-syeuh}-twins?" said Chatonne. She shook her head. "I'm going to have to have a talk with my lead flutist. Might as well have tried to piccolo the beginning of the funeral march from Beethoven's Third Symphony in exact pitch."
Jean-Léonard understood the joke. The beginning notes of that piece were too low for a piccolo. "I get it. Trying to get himself killed before the première of four symphonies is not too smart."
"And I enjoyed his performance of the flute solos in my new piece," Beethoven said.
"Well," said Wilykit, "now, there's this matter of that challenge that's to satisfy Sydney Forrester's slight doubt that Beethoven is the real thing. Will Beethoven, Gatinha, Chatonne, Antonio, and Guillaume please go to the piano?" The five did so. "Jean-Léonard?"
"Quicksilver, do you require any further assistance?" Jean-Léonard asked.
Quicksilver said, "No, thank you, Jean-Léonard. Go ahead."
Jean-Léonard touched the communicator Quicksilver had given him. "Computer, one to transport to the rec room of casa di Tygra on New Thundera." He was transported there, where he joined the group at the piano.
Wilykit said, "Now, Beethoven and Gatinha will play the piano portions of Chatonne's Trio number Two for Piano, Violin, and Violoncello, which includes an optional part for oboe. Actually, they will only play the fourth movement, Extremely, extremely quick, and then extremely lively with dizzying speed. There will be two performances of the movement. During both, Antonio will play the 'cello, and Guillaume will play the oboe. During the first, Gatinha will play the piano and Chatonne the violin. During the second, Beethoven will play the piano and Jean-Léonard the violin." Jean-Léonard put his Laser Violin in its case, then got his good violin. "Anyone who wishes to stay may." No one left. Fortunately, a hundred twenty comfortable chairs were comfortably spaced in the room. Bluegrass and Stargazer were monitoring Hawkhaven and keeping Melodia (who had also been discussed) safe and under control.
"Link," said Chatonne, "are you willing to play the tuning notes?"
"Certainly," said Link. He arose and went to the piano, where he sat down on the bench. He played an A, and all the string players tuned their instruments.
"Thank you, Link," Chatonne said.
"You're quite welcome," Link said, getting up and returning to his seat.
"I hope you don't mind," said Kevin. "I brought a digital recorder."
"All right," said Chatonne. "Please use it."
"Thank you." Kevin readied the device. "Recording." He hit the record key.
"My Trio number Two for Piano, Violin, and Violoncello in d-sharp minor, which I more commonly call my Second Violin-and-Violoncello Sonata. Movement number four: Rondò finale: Extremely, extremely quick, and then extremely lively with dizzying speed. Performed by Gatinha at the piano, me at the violin, Antonio at the violoncello, and Guillaume at the optional oboe." Gatinha quietly sat at the piano and opened the book to the page of the fourth movement. Chatonne stood just to the side so that everyone could see her and Gatinha. Antonio was in a chair to Chatonne's right, and Guillaume was standing next to him. Chatonne's music was on a short stand directly in front of her, as was Guillaume's. However, Antonio's music was in front of him and slightly to his right. The arrangement was excellent; one could easily see the finger movements of all four performers. Beethoven and Jean-Léonard stood to the side.
Gatinha's notes would begin the movement, but she was building up her energies to begin. The opening to the piece almost messed her up the first time she had played, and she was not about to make the same mistake twice. Suddenly, without warning, she smashed the keys down hardly to obey the very, very loud mark on the page. She retained the force as she quickly played the first four measures of the piece, which belonged solely to the piano. The hard accent on the first note was to warn the other players. It sounded intimidating, though, and might catch the unwary performer off-guard. However, Chatonne, Antonio, and Guillaume were ready to maintain the whirling momentum that Gatinha had started. The fifth measure brought in the 'cello; Antonio played at the quick tempo that Gatinha was using. His nimble fingers and quick wrist easily avoided disastrous mistakes; more importantly, he, like Gatinha, knew what Chatonne wanted. The two were making their instruments sing well. Then, Gatinha's part ended, and Chatonne's began. The technical difficulty involved in the violinist's passages far surpassed any that had been used before, but Chatonne kept up the momentum. Guillaume was ready for the oboe part when it came along. The woodwind playing in notes sandwiched between the violin's and 'cello's provided a large emotional contrast. Soon, Gatinha started again; the dialogue between instruments in this section was now violent. It had been sad, but it was now extremely angry. The piano challenged the strings and vice-versa; soon, the piano's tone began to drown out the violin's. Gatinha knew she was doing it right this time; this time, she knew all the traps that Chatonne had laid and could easily avoid them, even at this speed. Chatonne was proud of this. The volume began decreasing. Chatonne knew that the series of solos was coming soon, and she'd be the first one. However, the piano, 'cello, and oboe did not come to an immediate halt; they sort of slowed down the tempo during the measure two bars before the violin solo began. However, Chatonne knew that while they were decelerating, she had to go even more quickly. She did this with no visible effort. In order to provide a harmonic foundation, she had filled the violin solo with chords. These she executed perfectly.
Beethoven noted everything the performers did with their instruments, understanding the technical reasons. These were not simply chamber works, he realised. He realised that Chatonne and Gatinha had successfully written almost-symphonies. The difficulty in playing the instruments was related to the lack of more players and more instruments. The chamber works could easily be rewritten as symphonies. However, this would detract from the intimacy involved in chamber music, and Chatonne was definitely revealing feelings too personal for a symphonic orchestra to express.
The violinist's solo was the longest, then the pianist's, and finally the 'cellist's. The oboe, the optional instrument, had no solo part. Chatonne tossed a glance at Gatinha, and Gatinha put her fingers on the keys. Five measures later, the piano roared in. . . rather unceremoniously on the now serene violin. The violin then slowed to a halt while the piano continued. The work involved very much complexity, yet Chatonne had managed to make the structure rather clear for the audience. The result was a piece that demanded virtuoso performers. Beethoven knew that already. It had to look easy. The untamed emotion - untamed despite the fact that this work was in classical rondò (ABACABA) form - poured out in the work revealed that Chatonne wanted freedom. . . not only desired but required it in vast quantities, effectively implying that Ludwig had to be removed from power. It also displayed her love for her sister and what she would do if anyone tried to do any harm at all to Gatinha.
The 'cello's solo was short but very difficult. Fortunately, Antonio possessed the technical ability required to perform the part perfectly and still pour in the emotion that Chatonne needed to portray. This he did, and Chatonne and Gatinha were both pleased. Like the violin solo, the 'cello solo had several chords, but not as many. Antonio easily mastered the piece. In a titanic finale, the violin, piano, and oboe joined the 'cello and rounded off the entire movement together in a long, dark coda. The 'cello was granted the last two notes (F-sharp, then D-sharp on the C-string), and Antonio made them as loud as he possibly could. Everyone applauded the excellent performance, which lasted only ten minutes. Kevin paused the digital recorder after the applause had died down.
"That was fun!" said Gatinha.
Chatonne frowned slightly. "It was serious."
"Oh, yes. Sorry, Chatonne; the rhythm was exciting, at least."
Chatonne laughed. "Yes. Beethoven?"
"I practised while you were out," said Beethoven, smiling. "No warm-up necessary." Gatinha moved and allowed Beethoven to be seated. "Thank you." Jean-Léonard took Chatonne's position. "Ready to whirl, everyone?"
"Yes, Beethoven," said Jean-Léonard. Kevin started the digital recorder again. "Chatonne's Second Violin-and-Violoncello Sonata. Fourth movement: Rondò finale: Extremely, extremely quick, and then extremely lively with dizzying speed. As performed by Ludwig van Beethoven, Jean-Léonard Picard, Cerebrantonio, and Cerebraguillaume."
Beethoven, like Gatinha, got his mind going in the great velocity of the movement. Then, he began exactly the same way as Gatinha had, except he was a little more comfortable physically with executing the slur. The same things happened. However, Beethoven's greater ease with performing the piece was almost apparent. The timing and tones, the volume were all the same; it was simply that Beethoven had a tiny bit more comfort with executing the rapid notes than Gatinha. In contrast, Jean-Léonard was not quite as fluent as Chatonne. He was exact and he poured in the right emotion, but Chatonne was just a little bit more comfortable with executing the piece than Jean-Léonard. Almost no effort was shown from any of the performers; Jean-Léonard simply was not quite as fluent as Chatonne. Excellent, though. Guillaume and Antonio played just as well as they had the last time. Beethoven improved the quality of the piece slightly with one small improvisation: in a dark passage during the middle section, he used a pedal and joined all the notes in a loud slur that, Chatonne found, was most effective. At the end, everyone clapped loudly. Beethoven got up and bowed politely. When the applause had died down, Kevin turned off the digital recorder.
"Thank you," said Beethoven.
Chatonne commended, "Excellent improvisation, Beethoven."
"Thank you, Chatonne."
Syd stood and said, "Well, I'm convinced! That was impressive, all of you!"
Sam agreed, "Yes. Definitely not boring. I felt a dancing beat, but it was too emotional and definitely too fast to dance to."
"You're correct about the dancing beat," said Chatonne. "I obtained much of the structural groundwork from old times. My rhythmic inspiration came from a relatively fast Thunderian dance from about two and a half thousand years ago. I had already decided on a movement like the rondò, wherein one first states the main theme; then a second; then the main again; then a third theme or, as in this case, a development section in the middle; then the main again; then the second again; and finally the main again. Of course, I modified the form a little. I also added a coda for a more interesting conclusion."
"You fit it in very well," said Beethoven. "I see you also used stolen time in the melody during the development."
"Yes, and I see that both you and Gatinha interpreted it correctly."
Wilykit said, "I believe that's all. Thank you for coming. You may take your time leaving, if you wish. Steelheart, could you please speak of everything with Bluegrass and Stargazer?"
"Yes, I certainly shall," said Steelheart, getting up. Everyone got up with her. Jean-Luc Picard and Beverly (the ones from this universe, of course) went over to Jean-Léonard.
"Very good, son," said Jean-Luc. "I'm sure that piece was difficult."
"That, compounded with the fact that I had only played it once before," said Jean-Léonard. "Hello, Mom."
"Hi, son," said Beverly. "You've met Wesley?"
"Yes. He's a nice guy. Quicksilver, too, has been working on the case of the Hyrulian adventurers who have died while dreaming."
"I see."
"He's come to the conclusion of the overbuildup of fluids that you have. Maybe the research might go more quickly if you two collaborated."
"You're probably right. I'll get my research and go talk to him after we get back."
"All right. Well, I'll see you two later."
"See you later, Jean-Léonard," said Jean-Luc. "Farewell!"
"Farewell, Father," Jean-Léonard replied. Jean-Luc and Beverly left.
Worf approached the group at the piano. "That piece could easily have been mistaken for a warrior's dance."
Chatonne said, "Well, I do have a warrior's dance, Mr. Worf. It's the fourth movement of my Third Violin-and-Violoncello Sonata. Finale Klingon rondò: quick and lively with brilliance. I decided to use a Klingon dance celebrating honour and bravery. It was difficult. However, the piece is in perfect meter and in perfect rondò form."
"Very good. I look forward to listening to it. Whenever you're ready, of course."
"Certainly, Worf."
Deanna Troi approached. "Well, Chatonne, the piece certainly contained a lot of emotion. I'm an amateur listener, but you presented your ideas in a clear manner."
"I demand virtuosity from my performers," said Chatonne. "However, I normally try to obliterate anything that would completely keep the audience from understanding what I want to say. Most times, the idea is as clear as in this piece. Sometimes, I make the listener have to read between the measures, so to speak.
"I honestly thought my chamber music was too difficult for most people to perform, especially since Gatinha messed up the first performance of this, my second chamber work. That was really my fault partly; I pushed her into a tempo that made her uncomfortable. However, now I'm reconsidering that belief. Antonio and Guillaume are excellent, as are Jean-Léonard, Beethoven, and Gatinha. Maybe with this combination, I can finally unveil the rest of my chamber music."
"Well, count on me being there when you unveil your Third Violin-and-Violoncello Sonata," said Worf. "Klingon rondò. Farewell, Chatonne."
"See you later, Worf," Chatonne said. "See you, Deanna."
"Farewell, Chatonne," said Deanna. She and Worf left together.
Simon Belmont came to Chatonne and said, "Very good, my concertmaster. I've been meaning to ask you this for a long time, though; what about CastleVanian-style music?"
"I've used none," said Chatonne. "However, I could. What is a common unifying theme?"
"Deliverance from Count Dracula's evil fangs by the Lord," Simon said.
"Ah! Yes. I'll take a look at it."
"Thank you. It might be appropriate for a slow movement, since a lot of CastleVanian music is very sombre. One particular trumpet piece could make stones weep."
"I understand." Simon extracted his mirror from his backpack and stared at himself vainly.
"After all, it also glorifies my family's involvement. We are usually the agents of deliverance."
"Of course, I should've known. I think you are one of the most introverted individuals I have ever met."
"Well, of course! God uses me to save CastleVania constantly from the undead." He put his mirror away. "I must run. The Frankenstein Monster and Igor could be loose again. 'Bye!" Simon left.
Gatinha said, "I've known that guy for a thousand years, and he's still extremely egotistical."
"Oh, we can put up with him," said Chatonne. "Few trumpeters are as good as he, and few hornists as well."
Data approached them. "Chatonne, this is a truly remarkable piece, especially for a chamber work. Though I am incapable of truly perceiving emotion, I do sense that the work is highly romantic in content, yet very classical in form. Though difficult to perform, I thought its structure was rather straightforward."
"Yes," said Chatonne. "Usually I do that. Sometimes, however, I hide my idea like writers do."
"Very interesting. It is not often that I get to speak with composers about their work. How long is your new symphony?"
"Approximately two hours. It has five movements. The first is the longest. It begins as a slow and sustained, which soon speeds up unexpectedly to quick with brilliance. The two halves of the orchestra play as a whole for the first part of the movement, which covers the first forty minutes of the symphonic composition. The slow and sustained and then quick with brilliance submovement lasts ten minutes and stops abruptly at the end of that ten minutes with an ominous chord. The next submovement, super-quick and vivacious, begins with the bassoons in the high register; then, pure disparity begins. Jean-Léonard, in my half of the orchestra, produces notes as loudly as possible in the low register while the lead cellist, in Gatinha's half of the orchestra, plays as loudly as possible in the high register. Then, my half of the orchestra assaults Gatinha's half with a note combination with a highly dynamic wave of music, and her half attempts to return the favour. The super-quick and vivacious submovement lasts twenty minutes and leads directly into the moderate submovement, the third. The disparity continues, but more peacefully. The movement almost fades out at the end of ten minutes, but the basses on Gatinha's side add a definite beat to end the movement.
"Following the first movement is a twenty-minute slow and lamentatious in two parts. The first portion is a belated death march for Lion-O. In fact, I tried to label it Funeral March, but my sister wouldn't have it. The second portion, played mainly by Gatinha's half, shows her sorrow for what Ludwig has done to the universe.
"The first part of the third movement, Fast scherzo: moderately quick is the recoronation march for Wilykit. We played it when Tygra gave the position of Lord of the Thunder Cats back to her after Ludwig had released her and Wilykat from jail. After some orchestral disparity, Gatinha's half of the orchestra, accompanied by Jean-Léonard, plays a jubilant theme in the true spirit of the word scherzo. The movement lasts fifteen minutes and runs without a break into the fourth movement, a Complex scherzo: a little slower than walking speed. This lasts about fifteen minutes more.
"The fifth movement is about thirty minutes long and ends the symphony. Finale - super-quick and majestic but also joking, it finishes the work as a dizzying piece in sonata-allegro form. Near the end, the two halves of the orchestra resolve the conflict and join together to create a harmonious conclusion. The entire work is an enormous conflict between the major and minor modes."
"It sounds interesting," Data said. "I look forward to hearing it."
"Well, good. My sister and I spent a lot of time perfecting it. In the course of it, as you know, we created several other orchestral works together."
"Yes. Normally, I can analyse several works at a time. However, to analyse your music, I have to listen to a single one of your works at a time. It is no bother at all; the texture of your works simply contains so much depth to the predominant melodic line that my processors cannot keep up when I attempt to analyse one of your works along with another."
"If that's a compliment, Data, we thank you," Gatinha said.
"You are most welcome, Tygra-twins. I shall see you later."
"Later, Data," Chatonne said. Data left.