Entryhall, Castle of Hyrule, Kingdom of Hyrule, Planet Hyrule, Milky Way Galaxy, Q-niverse.  Stardate 1 049 504.1; December 31, 2994.

Steelheart and Steelwill were speaking with Link and Princess Zelda.  Steelheart said, "Link, I was wondering if that dream your ancestor had could be related to this."

            "Say 'dream' with quote marks around it, please, Steelheart," said Link.  "See, we're still following the possibility that it was not a dream, or at least not an ordinary one."  He got up and went over to the piano dominating the hall.

            "Right.  Of course.  Are you getting ready to play something?"

            "Just practising."  He put a computer padd whose screen was the size of a standard A4-sized sheet of paper on the music holder portion of the piano.  It had music on it.  "This is the piano part to Ludwig van Beethoven's Tenth Symphony, to première tomorrow."

            "Ah, yes."  Link began.  A slow, dark beginning established the mood.  Soon, it erupted into explosive motifs.  Link's part did not always reveal very much; sometimes, it was lyrical in character; others, it was pure harmony, stabbing chords to establish the depth to the melody.  A few times, Link's part even had both the melody and the harmony, but that was rare.  Soon, he announced, "My solo section is coming up."  This was no mere solo; it demanded great technical skill.  Link possessed this in full; his ability showed in the technically difficult while emotionally powerful music.  Where it said 'insert a cadenza' above the page, he was ready; he had already created one himself.  It was a virtuosic display, yet it added to the dreary mood of the piece.  He would play it for Beethoven and see what he thought.  One look satisfied him that the Steeltwins and Zelda were amazed.  At the end of the trill, he stopped playing and said, "Movement I is over for me.  That was the last solo in the movement.  Beethoven told me to stick in my own cadenza, as everyone else had."

            "It was good, Link," said Zelda.

            "Thank you.  I already did the rest of my part for him; he was satisfied."  He began to play some piece that Steelwill thought he remembered vaguely; he decided he was mistaken.  "So, what should I do?  Stay up all night?"

            "Well, of course not," Steelheart said.  "I've discovered certain clues, thanks to Quicksilver letting me in on his research.  For instance, with every single case he's studied, the hero or adventurer fell to sleep only on the first night of a month. . . between 21.00 on the first and 5.00 on the second.  So, you should be able to sleep safely tonight.  Another thing.  No heroes or adventurers survived past six months, while none perished within five months after falling into the 'death-dream-coma,' as Quicksilver calls it."  Link, surprised, slammed down the keys, accidentally producing such a loud and ominous minor chord that it sent shudders down everyone's spine.

            "Why didn't he tell me?" Link asked.

            Steelheart smiled.  "He didn't know.  I only just figured this out myself.  I'll tell him soon enough."

            "Oh."  Link played something else.  Steelwill knew he remembered the tune. . .  suddenly, it changed from slow to moderate, and he recognised it immediately.

            "That's Hyrule's theme!" said Steelwill.  "I knew I'd heard the piece before when it was slow.  Once it jumped to moderate, I recognised it."

            "Yes," Zelda said.  "He's playing the work based on our national tune."

            "An interesting piece," said Link.  "Wish I knew who wrote it.  The person almost exactly copied the tune, but he - or she - put it in a different key.  Also sent it through a lot of variations.  The composer used other Hyrulian tunes, as well.  The first and last movements contain the national theme song.  The second movement contains a common lyrical love song interwoven with highly dramatic motives in a theme and variations format.  The lively first theme of the scherzo alternates with the trio theme, an almost militaristic march in the minor key.  It reminds me of Ganon's Tower on top of Death Mountain.  The fourth and final movement uses all these themes and finishes with a triumphant variation of our national song."

            "I see," said Steelheart.  "Will and I are going to do the double-bass part for that symphony Beethoven was talking about."

            "I see.  I was about to leave, myself."

            "Where are you practising?" Zelda asked.

            "Thunder Kittens' home.  Beethoven's more or less taken residence there."

            "Actually," said Steelheart, "the Tygra-twins told the emperor they'd take care of Beethoven."

            Zelda said, "Well, you guys better get going.  I'll get the Triforce ready for tomorrow."

            "All right," Link said.  "Let's go."

            * * *

            Rec Room, casa di Tygra, New Thundera, Milky Way Galaxy, Q-niverse.

            Four violinists (including Jean-Léonard and Chatonne), two violists (including Gatinha), four violoncellists (including Élisabeth and Antonio), two double-bass players (the Steeltwins), two guitarists (including Kevin), two piccolists, two flutists (including Frédéric), two oboists (including Guillaume), two clarinettists, two bassoonists, two double-bassoonists, two French horn players, two trumpeters (including Simon Belmont), two tenor-trombonists (including Will Riker), two tuba players, two timpanists, two percussionists, one pianist (Link), and one conductor (Ludwig van Beethoven) were gathered in the Rec Room of Tygra's house on New Thundera to practise the work by the 'Anonymous' Composers.  Beethoven, standing at the temporary podium, addressed the small orchestra.  "First," Beethoven said, "I hope I'm not interfering with anyone's schedule.  If I am, please speak now."  No one spoke up.  "I'm glad.  I thank you for coming.  Ordinarily, for a piece as monumental as this, I would use a full string section.  As it is, the only other reason we have so few players is because the 'Anonymous' Composers scored the symphony for only two of each wind instrument that we have here.  No English horns, no bass clarinets, no contrabassoons, no bass trombones.  Anyway, I'm doing it like this because Jean-Léonard knows what each of you can do, and so do I.

            "Speaking of its monumentality, its nickname gives an accurate impression.  It is the Symphony number Ten in f-sharp minor, which its composers entitled 'Titanic Symphony.'  I fear I must wait until tomorrow to elaborate.  Suffice it to say that the emperor covered up most evidence of this piece's composers, who are the 'Anonymous' Composers, and most, if not all, of their works.  That said, I think we should begin."

            Jean-Léonard stood.  Guillaume played the note A between middle C and high C on his oboe.  The wind-players tuned their instruments.  He played the A again so the strings could tune.  The tuning began in the violins and violas and descended to the violoncelli and double-basses  "We are ready, Beethoven," said Jean-Léonard.  He sat back down.

            "Thank you, Mr. Picard," Beethoven said.  He opened his large score and took his baton.  "I trust everyone has looked over this?"  Everyone's affirmation reached him.  "Very well.  This should be about eighty-five minutes long.  Of course, everyone must be careful; however, the violinists and violoncellists have to exercise special care.  Everyone can see that those two groups have much importance, more than all the other instruments combined.  Note the third movement; in the trio section, only the violins, the violoncelli, and the piano play.  Link will agree that his part is only of intermediate difficulty.  Jean-Léonard and Élisabeth will attest to the advanced difficulty of their parts."

            Link said, "He's correct about my part.  None of what I have to do is very difficult except for one long passage in the second submovement of the first movement. . . which, by the way, is quite difficult, but definitely not the hardest piano piece ever composed, though it's written well for piano."

            Jean-Léonard said, "In the trio of the third movement, my part is difficult.  However, the second submovement of movement one is more difficult."

            "Same here," Astucieux-élisabeth said.  "Can you lead your section, Cerebrantonio?"

            "I'm sure I can," Antonio said.  "While it is highly difficult, I've played something yet harder."

            Beethoven said, "Let's begin.  Movement I, Submovement A:  Slow and nervous; quick and lively with brilliance."  The symphony began with two deafening f-sharp minor triads, each in five octaves.  The following slow and nervous was, indeed, slow and nervous; the notes jumped around the instruments a great deal.  Still, it was intolerably slow; the energy and tension building up had to be released.  Soon, a short but powerful increase in volume blasted the symphony suddenly into overdrive!  Beethoven was satisfied; the exact manner prescribed for the transition from the introduction, slow and nervous, to the movement proper, quick and lively with brilliance, had been followed perfectly.

            After a few introductory measures, the four violoncellists' bows practically flew tightly over the strings in blasting out the first theme of the main part of the sonata-allegro-formed movement over the very loud harmonic measures of the tubas, trombones, double-basses, bassoons, and contrabassoons.  The violoncelli resonated beautifully; despite its deafening loudness, the theme was highly expressive.  The volume dropped a bit, and the theme was imitated on other instruments, which each changed the pitch pattern of the motives upon which the lyrical theme was based.  By the time it had reached the violins, it had been modulated extremely by the roaring tubas and bassoons; the trumpets and flutes had shifted it to the major key.  As the booming double-basses 'laughed' (in a method providing definite rhythm and diatonic harmony) harshly at the massive wounds inflicted to the main theme, the violins, violoncelli, trombones, and piano attempted to 'repair' the damaged theme.  The trombones returned the theme to F-sharp, but they stated it in the major mode!  In their hopeless attempt to repair the theme and return it to f-sharp minor, they transformed it, moved the key to A Major, and 'accidentally' shifted the sequence of tones into a happy piece!

            Despite its highly emotional content, the destructive exposition obeyed classical rules to the letter.  An optional slow beginning had been employed.  The first theme had been stated in f-sharp minor and expanded.  On a long bridge section, the theme had been modulated - somewhat weirdly, but within good taste - to A Major, a contrasting key.  Then, the violins stated the second theme in A Major.  The violins and violoncelli expanded the second theme, a happy yet suspenseful piece, in the contrasting key of A Major.  Suddenly, the violas cut in and deafeningly ceased the exposition with a short codetta.  Then, the violent exposition - from the first theme in f-sharp minor to the codetta in A Major - was repeated note-for-note and by the proper instruments.  Suddenly, as if the exposition had not been an explosive enough affair, the development blasted to life.  The modulation became even more volatile; first, a roaring re-statement of the initial theme by the double-basses and the violoncelli occurred.

            So destructively did the instruments treat the theme.  The piano modulated it through every single key in the minor scale.  The flutes completely tore it apart, creating so many variations upon it by rearranging the motives, changing durations, and even changing the motives themselves until they were no longer recognisable.  The suspense became maddening.  The variations were meant to create great anxiety, which they did.  Soon, the violins forced everyone else to quiet down.  The lowering of the volume was a relief, and the brass quickly modulated the key back to the tonic, f-sharp minor.  A slow increase in volume to medium-loud, and the recapitulation began.  The main theme was repeated in f-sharp minor, but the bassoons stated it this time.  Then, after the expansion, the bridge returned.  However, there was little of the modulation this time, and it led back to f-sharp minor.  The oboes and violins stated the second theme and its expansion in f-sharp minor in alternation-style.  The happy second theme was now extremely sad. . . just as the score had indicated it should be.

            The coda, the end of the submovement, began where the violas' codetta should have begun.  Lively in tempo but sad in spirit, the short coda (by the violas and the violoncelli) provided a perfectly lamentful end to an unusually barbaric section of music.  The last note was a dying one from the violoncelli; it quickly reduced from loud to nothing.

            "Marvellous," said Beethoven.  "No computerised orchestra can compare."  He turned to the strings.  "You definitely did well with the loud volumes, I must say!"

            "It's the quality of the instruments," Chatonne told him.  "It's the manufacture that helps a single violin counter the brass in times of extreme volume.  Of course, it is also good skill when a performer can make maximum use of the dynamic range."

            Jean-Léonard said, "I wonder what could drive someone to write something like this.  It must have been an awful experience."

            "It has a programmatic meaning, but it's still a wonderful abstract work," Beethoven said.  "The composers of this symphony regularised five-movement structure.  The first movement would be divided into three submovements, which could be separated or connected.  The normal arrangement would be quick, then super-quick, then moderate, but that could be modified.  The second movement could be in sonata-allegro form, theme and variations form, or ternary form; it could range from very slow to moderate.  Almost always, the third movement would be a scherzo and trio; it could range from moderate to super-quick.  The fourth would be a slow scherzo and trio, a minuet and trio, a rondò, a sonata-allegro, or a theme and variations with a flexible format; the speed could be slow, walking speed, moderate, or quick.  The finale could be in sonata-allegro form, in rondò form, or in a hybrid form with a tempo with the same tempo range as the third movement.  The structural rules could be easily bent to fit the emotional or programmatic content required.  In the case of this submovement, sonata-allegro form fit perfectly."

            Chatonne said, "You're right.  You don't hear the form when you're listening unless you listen closely, though.  The careless musician might feel that this piece was formless.  Only a Vulcan can deny that this piece is exciting; then again, a Vulcan would recognise the structure and appreciate how well the piece fits form."

            "True," said Beethoven.  "Now, let's do the second submovement, Super-fast and agitated with fire, and the third, Moderate and calmed.  Since the opening motive of the first theme belongs solely to Link, I'll let him begin when he's ready; I'll wait until the end of the second measure to begin conducting.  Link, once you're ready, you may begin."

            Link said, "Thank you, Beethoven."  Once his fingers were in position, he carefully stared at the score and concentrated.  The instant he felt ready, he played the opening notes as forcefully and quickly as he could.  Once Link had finished the first two bars, Beethoven began conducting.  The first submovement was pale in comparison to this one; this was faster, darker, more complex, much more emotional, more dynamic (soft at one moment and ear-searingly loud the next), and yet more graceful.  This time, the themes were not manhandled savagely by the tubas and bassoons but gently rearranged by the oboes and flutes.  The first theme, in the tonic f-sharp minor, was neatly and gently transformed into the second theme, in the key of A minor.  The expansion of the second theme ensued, then a codetta from the violas.  The exposition continued without a repeat into the main development.

            At a slow speed, the main development section would be difficult; at such high velocity, it was brutal.  Nevertheless, it was easier if one gathered momentum from the exposition.  The development was most difficult for the violoncelli, the violins, and the piano, who (in order from most to least) had the most parts.  The violoncelli had by far the most difficult territory to cover; the secondary instruments in both sections could fall silent and leave the difficult material to the leaders.  That's what happened.  Antonio and Élisabeth did so excellently that Beethoven was amazed, as was everyone else.  The violinists did just as well; the secondary violinists left the material up to Jean-Léonard and Chatonne, which was also permitted.  Link also did just as well with his material.  The end of the development modulated back to f-sharp minor, but the recapitulation and succeeding coda were cut off.  Instead, the remodulation slowed the tempo to moderate.  That done, the third submovement began.

            The first theme, in F-sharp Major, was idyllic and soothing.  It had little expansion; the short bridge modulated to c minor.  The second theme, though sweet and mellow (uncharacteristic for c minor, which was often used as a bombastic key), had a slightly sorrowful character.  Short expansion of the second theme and short codetta (again by the violas) led directly into the development.  The section varied keys so gently that one listening for entertainment could barely detect it.  However, the calm and soothing section had an increasingly sad character.  One would ordinarily think this to be residual from the material that had been presented previously in the entire movement; little would anyone suspect that it was actually an introduction to the next movement.

            There was a slight surprise waiting.  The remodulation after the development led not back to the key of the first theme, F-sharp Major, but to that of the second, c minor!  This alternation transformed the first theme from soothing to slightly disquieting.  The expansion was also a little unnerving.  The bridge, second theme, and second theme's expansion were similar.  The short coda finished the final submovement of the first movement on an uneasy note.

            Beethoven asked, "It is remarkable, is it not?"

            "Yes it is," said Wilykit.  "Please forgive my brother and me for intruding on your practice."

            "That is all right, Wilykit."

            "Imagine the nerve of that stinky turtle," said Wilykat.  "Hiding this work."

            Beethoven said, "There are parts for a chorus and solo singers, as well.  I'm not doing them because, well, what they say is why the emperor eliminated the records of the 'Anonymous' Composers.  They provide great direction to the programmatic material of this work."

            Wilykit said, "Beethoven, won't he flip when he hears this?"

            Beethoven smiled.  "I'm counting on it."

            "I see.  Well, he'll really go bananas.  Text or no text."

            "Once faced with a real error in his judgement, does he not back down and own up?"

            "Usually, he does."

            "Well, let's continue, shall we?  Movement II is Walking speed and painful.  Please don't stop, even if this gets too intense.  This is meant for mourning something such as the wound Ludwig has inflicted on this universe."  He held up his baton, then began moving it slowly.  The violoncelli and double-basses whined the central theme, intensely sad, in A minor.  The oboes repeated the melody against the steady march-beating of the timpani.

            Every single variation of this theme - for the movement was in theme and variations form - was even sadder. . . the violins' conversion of it to e minor, the flutes' embellishments, the trumpets' inversion, the piano's disjoining of the melody, increasing the pitch distance from the central pitch.  Finally, the saddest and most heartrending variation was sung loudly by every instrument in three octaves all sounding simultaneously in the symphony's tonic key of f-sharp minor.  After a few more variations that were less severe than the preceding variations, the movement ended with a sustained note from the violins.

            In sharp contrast to the previous two movements, Movement III:  Fast but not complex scherzo:  quick and impassioned was a vibrant, energetic, happy piece in F-sharp Major.  The central scherzo theme belonged to the guitars.  Kevin, the principal guitarist, played the fast theme with ease.  The violas and violoncelli accompanied the guitars during the expansion.  During the repeat of the scherzo theme, the violins accompanied the guitars with the same theme an octave higher; the piano, violins, violas, violoncelli, and double-basses, playing medium-loud, accompanied the guitars, playing loud, in the repeat of the expansion.

            The trio was a true trio; as Beethoven had said, only the piano, the violins, and the violoncelli took part in it.  The piano's part was simply to provide harmonic background with melodic chords; it was not beginner-simple, but it was not virtuoso material, either.  The violins and violoncelli, however, had a difficult task.  They presented and expanded a complicated theme in A Major.

            Once the trio was over, the guitars and violins presented the scherzo theme once more, but slower at moderate tempo.  The trombones, Will Riker leading, cut off the expansion and began the fourth movement, Slow and complex scherzo:  moderate and soft.  The tempo marking was ironic.  It was not soft in volume when one heard it.  The trumpets (led by Simon Belmont) and the trombones presented the fourth movement's scherzo theme.  The effect was hilarious; the theme attempted to pass as being stately and noble, the speed being just that of a stately minuet of Mozart's day, the instruments being the brilliant trumpet and the noble trombone.  However, the theme writing was constructed so that it failed in some indescribable way that incited great laughter.  The attempts added to the humour.  The expansion by the tubas added to the hilarity.

            Luckily for the brass-players, the repeat of the scherzo theme was done by the woodwinds.  The flutes and clarinets, however, only added to the theme's apparently humorous quality.  The bassoons' repeat of the expansion could put a Vulcan on the brink of riotous laughter!

            A sharp chord from the strings began the trio.  The violins, violoncelli, and guitars restored some sense of order with a fake-serious theme and its expansion.  Only had this been done could these three instruments' repeat of the scherzo theme and expansion - the violins and guitars repeated the theme, the violoncelli repeated the expansion - be so side-splittingly hilarious as intended.

            In the first place, the trio theme was not serious at all; it just made a better job of seeming that way than did the scherzo theme.  Secondly, the violins and guitars attempted to cover the humour of the scherzo by making the beat more gracious, and the violoncelli did the same to the expansion.  In reality, that uncovered the raw humour in the trio and magnified that in the scherzo.  The movement ended when the violoncelli had reached the end of the scherzo theme's expansion.  Once it was over, all the wind players got their instruments away from their mouths, and everyone laughed!

            Beethoven, Antonio, and Chatonne managed to gain their self-control quickly.  They had laughed the loudest.  Chatonne returned her violin to 'play' position and played a really serious minuet by Bach.  Serving its purpose, it calmed everyone down.  "Now," said Beethoven, "who would dare call this a minuet?"

            "None of us, I assure you," said Gatinha.  "Subtle humour is the best."

            "It is very complicated," Chatonne said.  "It would take me months to figure out how to do this.  It's subtle, but if you listen, you'll always at least catch the giggles."

            "Well," Beethoven said, "from what I know, the male of the two composers had a talent for humour in any number of forms.  You notice he used form for an unexpected twist."

            "Yes," said Jean-Léonard.  "The trio, itself humorous, acted as a magnifier instead of an inhibitor."

            "Precisely.  Did you notice the key?"

            "F-sharp minor," Antonio said.  "The key of despair becomes the key of the joke.  The mode surprises me most of all."

            "That's the joke!" said Beethoven.  "From all appearances, this fourth movement should be dreary. . . except that it is marked scherzo.  Many people will think that this is a happy piece if you just play it; likewise, they'll think it's sad if you say it's in f-sharp minor and it's a slow movement.  Melodic deception turns what should be heartrending to hilarious.  Later, you'll notice the truer depth of the deception."

            Wilykit said, "To write a piece like this must require much compositional skill."

            "Indeed.  Now, it's time for Movement V:  Finale:  super-quick with animation.  At your discretion, Jean-Léonard."

            Jean-Léonard said, "Thank you, Beethoven."  He readied his violin; all the others readied their instruments.  Loudly and quickly, he began the final movement.  Solo, he bowed the entire first theme, composed of the motives used in every single theme of the past movements.  Then, when Beethoven began conducting, the flutes and oboes expanded the f-sharp minor theme.  It was violent but controlled.  The second theme, in C Major, came solely from the entire brass section, its expansion from the piano and violoncello.  It was a bright tune, as was its expansion on the piano and violoncello.  Suddenly, the expansion ceased at the rumbling of the bass drums and a sound of alarm from the triangle.  After the clash of cymbals, the first theme returned, this time blown out by the entire string section. . . entirely a violent tune.  The strings expanded the theme themselves this time.

            The ensuing development section was more disturbing and restless.  As previously stated, the main theme of this movement was constructed from motives of every single theme from the other movements.  Each instrument had its share in tearing each motive out; all the past themes were recalled.  The hilarity was gone from the two themes of the fourth movement; now, they were serious, dark, and terrifying.  The final phrases of the development were horribly violent variations on the two themes of the first submovement.  They were twisted and modulated until they became the first theme of the fifth movement in f-sharp minor once more!  The woodwinds played this theme, the strings its expansion.  Then, the strings played the second theme and its expansion, but in f-sharp minor instead of C Major; this made the theme gloomy.  Finally, the first theme and its expansion were repeated very loudly by the entire orchestra.  A rather long coda alternated the main theme of this last movement and the main theme of the first submovement; the symphony ended on a dark and mysterious note from the violoncelli.

            The Wilytwins applauded as loudly as possible to compensate for the absence of others.  "Thank you," said Beethoven.

            "I'd scream 'encore,' except the symphony is an hour and a half long," Wilykat said.

            Wilykit said, "Actually, it's about eighty-one minutes long.  The first movement lasted about forty minutes. . . the first submovement about thirteen, the second about seventeen, the last about ten.  The second movement was about thirteen minutes long, the third six, the fourth seven, and the last fifteen.

            "Accurate proportioning," said Beethoven.  "So, what is the hour?"

            "It's 20.02," Wilykit said.

            "Very well.  We shall perform the symphony tomorrow after the première of my Tenth.  Good evening, all."  Most everyone boxed their instruments, said their farewells, and left.  Link, the Cerebra-twins, the Astucieux-twins, and Kevin stayed, however, as well as the Tygra-twins, Wily-twins, and Beethoven.

            The Farfâla-twins were also present; they had applauded the performance as well.  They went down to their cousins.  "Antonio," said Natalia, "you mind if we go to the café?"

            Antonio said, "No.  In fact, we'll catch up with you.  We'll have dinner together, if you'll wait for us before you order."

            "All right.  See you later, cousins."

            "Later, Natalia and Leonarda."  The Farfâla-twins left.

            Kevin approached Beethoven.  "They really wrote good music for guitar, Beethoven.  I know whom you're talking about; I have complete access to their guitar sonatas, guitar and violin sonatas, and guitar concerti.  However, I don't have access to their names!"

            "I see," said Beethoven.  "This isn't meant to be accusatory, but how is it you have access to some of their music?"

            Gatinha said, "Well, they're the first composers to make serious and regular orchestral use of the guitar, and Kevin's known as the best guitarist in the empire.  He's always been the one to give the first solo performance of the emperor's guitar concerti.  Of course, Kevin wouldn't agree if he didn't like the music.  Ludwig isn't exactly his best friend.  By the way, if you need help on writing difficult guitar music, ask Kevin."

            "She's right; I admit it," said Kevin.  "I've transcribed some violin pieces to guitar pieces, including concerti."

            "How did you manage?" asked Beethoven, interested.

            "Well, I did have to rewrite some passages a little.  The duration of a violin note can be greater than that of a guitar note.  I compare the abilities of the instruments in transcribing.  Also, I have intermediate violin skill, which helps."

            "Intermediate, my foot," said Gatinha.

            "Indeed.  His violin never squeaked," Chatonne said.  "Sometimes mine still does.  Not often, but remember I said I squeaked that thing when I began lessons.  Gatinha never squeaked her viola, either.  She had bow-drawing perfect."

            Gatinha smiled.  "Just call him and me the 'unsqueakables.' "

            "Oh, very funny.  Kevin, take my violin and play something."

            Kevin said, "Oh, all right."  He put his guitar leaning against a wall.  Chatonne handed him her violin and bow.  "Thank you."  He put the violin in position and made sure the instrument was still tuned.  (He, too, had been granted a special ear for knowing notes perfectly.)  "What do you want me to play?"

            "Let's see.  Ah.  The final movement of my sister's and my Violin Concerto number Six in G Major."

            "Ah, yes.  My violin solo début.  I embellished the cadenza too much."

            "Nonsense, Kevin," said Gatinha.  "You can improvise all you want.  I incorporated that improvisation into the formal cadenza.  Jean-Léonard had a previous engagement, and Chatonne had to conduct her half of the orchestra, so Kevin volunteered to do the solo violin portion of our Sixth Violin Concerto at the première.  When we heard how well he played, we agreed to let him.  This was a short time ago."

            "Very interesting," said Beethoven.

            "Computer, holographic orchestra," Chatonne said.  "Do it according to program Gatinha-One."  A 'split' orchestra appeared.  "Search for the Concerto for Violin and Orchestra number Six in G Major, opus C-26, by my sister and me."

            "File located," said the computer.

            "Gatinha conducts section A of the orchestra; I conduct section B.  Kevin Keene is the independent soloist."

            "Specifications understood."

            "Movement IV:  Rondò:  quick."

            "Begin when ready."

            Chatonne and Gatinha got in place, as did Kevin.  The 'audience' had a seat.  Kevin prepared the violin.  Once he was ready, he began the movement with a slow, medium-volume introductory solo.  Soon, he accelerated to quick and did a loud trill.  This was actually a composed cadenza; such a phenomenon at the very beginning of a movement was uncommon.  Gatinha's half of the orchestra loudly played the first theme in G Major, a heroic piece with great orchestral depth.  Then, accompanied by Gatinha's clarinets, Kevin repeated the theme with composed virtuosic embellishments.  Kevin and both halves of the orchestra expanded the theme in a grand, dramatic manner that Beethoven admired.  However, the dramatic first theme gave way to a joking, lively second theme.  The expansion of this theme was exclusively for the soloist backed harmonically by the bassoons.  The difficulty was extreme; the soloist not only required great technical ability but the capacity for a great deal of expression.  He or she also required endurance.  Kevin fit the bill perfectly.  He made the violin assert itself over the orchestral mass.

            During the repetition of the first theme and its expansion, the violin further embellished both with unexpected, individualistic trills, grace-notes, and arpeggi.  A short bridge modulated to e minor, and the violin began the agitated development section.  The two themes, the dramatic and the jesting, were torn apart in expansive motive constructions, moulded, merged in a dramatic manner.  Not unlike the leading motives in Wagner's music dramas.  The soloist retained superiority over the split orchestra; Kevin's body betrayed none of the effort that his part demanded.  It was deceptive, Beethoven knew.  It was also amazing, especially for a human.

            The stormy development soon cleared, and the key of G Major returned.  The first theme and its expansion were repeated, though in a more joking manner than before, showing some of how Gatinha had influenced the work.  A bridge modulated to A Major, in which key the second theme was repeated, though a little more seriously than before.  After the repeat of the second theme's expansion was the cadenza section.  Kevin decided on a new approach.  As written, he did repeat the themes and embellish upon their expansions in the manner Gatinha had specified.  However, he made a change that startled everyone, even himself.  The alteration in the cadenza was no mere display of untamed virtuoso skill; it preserved the mood and lent an air of undeniable personality.  Kevin was an expert improviser; he could continue improvising as long as he wanted, blending and varying leading motives, but he decided against it out of respect for the audience's time.

            With some more measures displaying individuality, Kevin brought the cadenza to a close with a long trill.  The split orchestra resumed playing with Kevin leading.  A short coda summarising the content of the movement brought the movement to a triumphant close; Kevin played the assertive final notes.