Mount Icarus Coliseum, Mount Icarus, VideoLand, Milky Way Galaxy, Q-niverse.  Stardate 1 049 506.8; January 1, 2995.

That morning at 7.00, the concert was ready to begin.  All members from each of the two teams were there.  The coliseum was packed.  The large orchestra was perfectly set up; thanks to the acoustics of the coliseum, every little utterance by the orchestra could be heard.  The chorus was also standing by.  Every single member of the audience had a computer console that showed Jean-Léonard's finished program and could show a score of the work being performed and where the orchestra was in the work, good for the musically inclined members of the audience.

            The orchestra was ready; everyone was there.  Two harpsichords, two pianos, countless strings, several woodwinds, many brass, varied percussion.  In the front row of the audience were the team leaders - Brain-Team on the right, N-Team on their left - and the Tygra-twins.  Jean-Léonard entered; everyone stood and applauded.  "Thank you!" he called.  "First, the strings and harpsichord will play 'The Four Seasons' by Antonio Vivaldi without conductor."  He turned to the orchestra.  The oboe sounded A; the tuning began.  Once this was done, the strings and harpsichord played the four concerti of Vivaldi's 'The Four Seasons.'  It was good that this was being recorded; the performance superbly portrayed what Vivaldi wanted.  The arrival of spring; the shepherd's dance; the hot summer; the devastating summer storm; the autumn, when the men make merry and get drunk; the hunt; the cold, inhospitable winter; treacherous ice and the promise of spring's inevitable, cyclical return.  At the end, loud applause sounded.

            "Thank you," said Jean-Léonard when the applause died down.  "Next, we shall play the Overture and Pastoral Sections from Handel's The Messiah.  Please welcome our conductor, the contemporary composer with the most works, Emperor Ludwig von(Bowser)Koopa!"

            Ludwig stepped up to the composer stand.  The massive applause was merely respectful.  He was a superior artist, but that did not make up for the fact that he was a cruel ruler and that he would be far more cruel if he were allowed completely free reign over the empire.  "Thank you, people of the universe," Ludwig said.  "Before we continue, allow me to present the ruler of the Thunderian Kingdom, the Lord of the Thunder Cats, and the new leader of the Extended N-Team, Lord Kit Astutus van Wily, more commonly known as Wilykit; also her brother, Wilykat."  Wilykit and her brother stood out in front of the crowd; everyone enthusiastically cheered them except the Brain-Team, who simply did it respectfully.

            "Thank you, everyone," said Wilykit.  "Thank you, Emperor Ludwig."  She and Wilykat sat down next to the Tygra-twins.

            "My pleasure, Wilykit.  And now, our two excerpts from The Messiah!"  Ludwig took his baton once Jean-Léonard was seated.  The two movements were performed excellently under the emperor's baton.  It seemed incomplete though, so Ludwig whispered something to the chorus and then to the orchestra.  The chorus quickly prepared itself.

            Under Ludwig's command, the orchestra and the chorus rendered another movement, the Hallelujah chorus!  The fabulous performance was met with loud applause.  "Thank you," Ludwig said.  "This work never sounds complete without that chorus.  Concertmaster?"

            Jean-Léonard stood.  "That's true.  Now, we shall perform Johann Sebastian Bach's Brandenburg Concerti.  The first is for horns, oboes, a bassoon, and a violino piccolo {vyó-lé-nó pé-kó-ló}�.  The second is for trumpet, flute, oboe, and violin.  The third is for three violins, three violas, and three violoncelli, with only violone and harpsichord as the bass instruments and with no full-orchestra instruments.  The fourth is for violin and two recorders.  The fifth is for flute, violin, and harpsichord.  The last is for viola da gamba with a full-orchestra body lacking violins.  Horns, oboes, and bassoon!"  [� - A violino piccolo is a smaller version of the violin, just as the viola is a larger version of the violin.]

            The two chief hornists, the three chief oboists, and the principal bassoonist stood.  Jean-Léonard simply played a minor third higher, since that was the difference between the normal violin and the violino piccolo.  Ludwig conducted the Brandenburg Concerto number One in F Major.  The performance deserved the massive applause it received.

            Jean-Léonard gestured for the six others to sit down.  He then called, "Trumpet, flute, and oboe!"

            Simon, Frédéric, and the principal oboist stood.  Jean-Léonard remained standing.  Then, the orchestra played the Brandenburg Concerto number Two in F Major, another first-rate performance.

            Once the other three had sat down, Jean-Léonard called, "Violins, violas, 'cellos!"

            Two other violinists, three violists, and three 'cellists, including Élisabeth, stood.  The 'cellists sat back down; they were easily seen.  The Brandenburg Concerto number Three in G Major was performed; the superb performance received much applause.

            "Recorders!"

            Two flutists, including Frédéric, stood and picked up their recorders (which were just flutes with mouthpieces, as opposed to the standard transverse flute).  They then gave the greatest performance yet of the Brandenburg Concerto number Four in G Major and received a loud round of applause.

            "Flute and harpsichord!"

            Frédéric stood with his normal transverse flute; Link stood behind the harpsichord.  Link then sat back down; the most impressive rendition yet of the Brandenburg Concerto number Five in D Major deserved the generous applause it received.

            Jean-Léonard sat down.  Someone handed him a viola da gamba, which he set on his leg and tuned.  A super performance of the Brandenburg Concerto number Six in B-flat Major ensued, which in the end was also given great applause.

            "Thank you," said Ludwig.  "We'll take a short intermission while the orchestra prepares for the 19th Century Romanticism portion of our program."

            * * *

            "I see Jean-Léonard tossed in Tchaikovsky's Violin Concerto, and Dvorák {dvór-zhahk}'s 'Cello Concerto, and Richard Wagner {vahg-nehr}'s Overture to Tannhäuser {tahn-hóy-zehr}," said Wilykit.  "Good thinking on his part.  Ludwig needs all his energy to conduct the violin concerto."

            Link came up.  "Hi, guys.  I'm not needed until the new symphonies come up."

            "Get the Triforces ready, Link.  I plan to separate Ludwig from his powers during the violin concerto."

            "Very well, Wilykit."

            Ludwig entered and announced, "We are ready for the next part of the program."

            "Our next work is the waltz 'The Beautiful, Blue Danube' by Johann Strauss, Jr.," said Jean-Léonard.  The performance of the waltz was wonderful; the enthusiastic applause was well earned.

            "Thank you," Ludwig said.

            "The next masterpiece we will perform is the 1812 Overture by Peter Ilyitch Tchaikovsky."  The magnificent work was performed excellently; the booming cannons and ringing bells in the coliseum were even more impressive.  The orchestra earned even more applause.

            "We shall now play the overture to Wagner's music drama Tannhäuser."  The orchestra rendered a great performance of this work, inciting more well deserved applause.

            Jean-Léonard said, "Now, we shall perform the Violin Concerto in D Major by Tchaikovsky."  He stood and made sure his violin was still in tune.  He nodded to Ludwig and kept his violin ready.  Ludwig began conducting with all his concentration.

            Wilykit turned to Link (behind her), who nodded.  Good, she thought.  To Wilykat, she telepathically said, I'm ready, bro, as is Link.  Are you?

            I am, Wilykat replied.  While you snatch his powers, I keep his attention focused.  Since it's trapped in such a small area, I don't foresee any problems, but I'll be prepared for any.

            Good.  Tell me when you've got him, 'Kat.

            Wilykat concentrated just as Jean-Léonard began the solo violinist's part.  Entering Ludwig's mind, Wilykat saw that every ounce of the villain's attention was directed to conducting.  Half of Wilykat's attention would easily trap Ludwig's and keep it toward conducting.  Okay, 'Kit!  Take it away!

            Thanks, Wilykat!  Wilykit entered Ludwig's mind and located his powers.  Somehow, she knew he would be smug enough to store them all in one place in his mind while he was not using them.  Too bad for his wicked plan.  She easily took his Q-cubed powers - but would lay no thought on his evil Koopa powers - and left his mind with those Q-cubed powers.  In her own mind, she locked those powers away where only she and Wilykat could find them and where absolutely no one could use them.  Finished, Wilykat!

            Great!  Wilykat released Ludwig during the orchestra's loud statement of the complete and most dramatic version of its variation of the original theme, the time when Ludwig would have to keep his attention focused.  When will he discover the absence of his powers?

            When he tries to use them.

            I see.

            Due to Link's interference by way of the Triforce, Ludwig felt tired, so he devoted every ounce of his energy to conducting.  Still, he conducted the concerto perfectly.  Jean-Léonard's work was amazing.  Simply growing up among Thunderians must have added to his stamina, for he showed little effort with the concerto.  Of course, he had performed it many times before; it was his personal favourite.  He got everything right.  This performance received enthusiastic applause.

            After bowing, Jean-Léonard said, "Thank you.  Next, the great Élisabeth vân Astucieux shall solo in the performance of Antonín Dvorák's Violoncello Concerto in b minor."  She got up and moved her chair over to where he was standing.  Everyone applauded her when she sat down; she was well known as a young virtuoso 'cellist.

            "Thank you," she said, her instrument held ready.  Jean-Léonard plucked the open A string (the second-highest) on his violin; Élisabeth tuned her 'cello.  Jean-Léonard then sat in his chair.  Élisabeth nodded to Ludwig, who then conducted the best performance ever of one of the greatest 'cello concerti.  As for Élisabeth, even Antonio would be hard-pressed to surpass her with this particular concerto.  She had devoted much time to learning this work, which she loved, and she granted the 'cello part a quasi-Bohemian quality that Dvorák would have loved and much appreciated.  As if such a thing were possible, her performance of this was slightly better than Jean-Léonard's of Tchaikovsky's Violin Concerto.  She received as powerful an applause as he had.

            Jean-Léonard stood as Élisabeth returned her seat to its proper place.  "Do you want an intermission now or after Beethoven's first nine symphonies?"

            "AFTER!!!" the audience shouted back.  Their enthusiasm made Beethoven happy.

            Ludwig said, "I have a surprise.  I'll hand my baton over to Beethoven, that he may conduct his own symphonies, as well as Mozart's final three!"

            Beethoven was surprised, pleased, and honoured by this gesture.  He stood; everyone applauded him as he went down to Ludwig.  "Thank you, sir," Beethoven said.  Ludwig handed him the baton and went to sit next to MotherBrain.  "First, I shall honour my great predecessor, Wolfgang Amadeus Mozart, by conducting his Symphonies numbers 39, 40, and 41 in E-flat Major, g minor, and C Major respectively."  Indeed he did; Mozart would have loved this rendition of the great trilogy.  Beethoven and the orchestra rendered the fortieth especially well, invoking the romantic expression of emotion hidden in the work.  This superlative performance of the trilogy earned massive applause.

            "Thank you," said Beethoven.  "Now, my Symphony number One in C Major."  Under his baton, the orchestra presented his first symphony.  He observed all his repeats.  The performance was fabulous, and it earned lively applause.  "Symphony number Two in D Major."  This second symphony was also performed quite well.  Again, Beethoven observed all repeats.  The audience applauded loudly, but not too loudly; they would reserve their applause for what were viewed as three of the greatest, the third, fifth, and seventh.  "And now comes my favourite of my own symphonies, the Symphony number Three in E-flat Major, 'Heroic.'  You may know already that I originally dedicated it to Napoleon Bonaparte, but when I learned that he succumbed to the human lust for power and declared himself emperor of France, thus turning against his stand on freedom, I ripped up the original title page.  On its replacement, I dedicated it to the memory of a great man and labelled it �Eroica {áy-ró-é-kah}�.  So, here is my Heroic Symphony."

            It was the greatest performance of this symphony thus far.  Beethoven obeyed the repeat of the exposition of the first movement, unlike many conductors.  He dramatically dragged out the Funeral March.  Under his powers of conducting, the orchestra awed the audience with a most heroic presentation of the great work.  Accordingly, the audience not only applauded but cheered.

            "Thank you much.  I am deeply honoured.  Now, I present my Symphony number Four in B-flat Major.  In some ways, it's similar to the seventh, but its position between my two most dramatic symphonies steals its popularity.  Now, to get the full effect, I suggest you forget third and fifth for a moment."

            This rendition of the Fourth Symphony was especially superb.  It began mysteriously but then became exuberant; it lacked the drama of the third and fifth symphonies, but then it was intended to be a joyous work, countering the third as the seventh countered the fifth.  Indeed, the advice of temporarily forgetting the third and the fifth, epic masterpieces, was wise.  The great performance of the flowing, jubilant Fourth Symphony earned great applause.

            "Thank you.  Next comes what most consider the representative symphony in the entire orchestral repertory, my Symphony number Five in c minor."

            The dramatic opening, the motives exploding together in darkness; immediately, this was no average rendition of the symphony.  The superb quality of this performance was evident from the dramatic opening to the victorious finale.  This symphony was applauded more than the third had been.

            "Thank you all.  Next, my Symphony number Six in F Major, 'Pastoral.'  Nature itself is the subject, but only in feeling.  I attempt only to evoke feelings rather than actual events, things, places, or people."

            The lyrical Sixth Symphony also received its best performance ever.  Its movements truly evoked the correct feelings. . . happy feelings upon arriving in the country, the feeling of being near a brook in the woods, jubilant feelings felt during merrymaking, feelings of fear in a terrible and chaotic storm, and happy feelings of thankfulness after the storm.  This performance also earned monstrous applause that anticipated the next symphony.

            "Thank you, audience.  The next is my Symphony number Seven in A Major.  I have compared it to my fourth; however, it is justly more appealing.  It is better in my opinion.  However, I've determined the slow movement should be played more slowly than I originally marked it.  My Seventh Symphony."

            The performance of this symphony was breathtaking.  The introduction did seem to lead to a dramatic movement, but the movement proper - played in a lively manner - was a jubilant, dancelike piece.  The slow movement, now about eleven minutes long, was mysterious; the wonder-capturing work also implied some kind of tragedy as had the Funeral March of the Heroic Symphony, but it did not dwell on anything tragic per se.  The next two movements were each about eight and three quarters minutes long; they finished the symphony on a jubilant note, coming from whirlwind speed to a nearly immediate stop.  An instant after the momentum stopped, the audience clapped loudly and gave a standing ovation.

            "Thank you," said Beethoven.  "My next piece, of course, is the Symphony number Eight in F Major.  It is a short work.  What is technically the slow movement is actually faster than the dance movement."

            Another excellent performance ensued.  The grand opening movement was jubilant, then mysterious.  The joking second movement was countered by the gracious third movement.  The end of the finale set the audience to lively applause.

            "Thank you.  Finally comes my Symphony in d minor, 'Choral.' "

            The incomparable performance was dazzling.  The dense orchestral fabric of the first movement indicated instrumental disparity that continued into the fourth movement, until the baritone soloist began singing, crying for more glorious sounds.  The remainder of the work celebrated the fraternal nature of mankind.  On the last note, the audience applauded with unrestrained enthusiasm; 'all the universe is a family of brothers plighted' rather than simply 'all mankind are brothers plighted.'  Every being in the audience caught the gist.  It seemed that Schiller's 'Ode to Joy,' the poem Beethoven had used as the text, applied not only to the Earth of his youth but the entire universe.

            "Thank you, fellow people," said Beethoven, bowing.  "Emperor, thank you for letting me conduct."

            Ludwig stood.  "A pleasure, Herr van Beethoven.  We shall now have our intermission.  The best is yet to come."

            * * *

            "Superb work, Beethoven," said Wilykit, the whole N-Team in earshot.  "Seems like good ol' Schiller described the people's plight."

            His guitar ready, Kevin said, "Yeah.  Did you manage your little trick, Wilykit?"

            "With the greatest of ease, thanks to my bro."

            Wilykat said, "Thanks to Jean-Léonard's inclusion of Tchaikovsky's Violin Concerto.  Soon, 'Ludwig the Stinky,' or however he likes to be called, shall be overthrown."

            Steelheart said, "Someone's going to have to rule in the Brain-Team's place to make this a truly universal community.  I mean, ten billion congressmen can't very well do it."

            "You mean another emperor?" Beethoven exclaimed.

            Tygra said, "Thundera had an emperor that controlled half of Leos once, Beethoven.  The planets in the empire enjoyed peace and prosperity, especially the commoners."

            "And see how well the more recent Thunderian Kingdom has developed," said Lana.

            Beethoven said, "Okay, as long as the emperor chosen is benevolent and fair to every person."

            "Don't worry," said Wilykit.  "No malevolent emperor is ruling over me, nor over any other sentient being in this universe.  As Lord of the Thunder Cats, I cannot allow it."

            "I'm happy to hear that."

            "I really can't wait to see the look on Ludwig's face!" said Mario.

            Perry Mason said, "He'll be hot enough to make tea.  Or melt stone."  He made the joke because of his last name.

            Jayna said, "I bet he will."

            "Well," said MegaMan, "I expect MotherBrain, Dr. Wily, or Ridley to do something."

            "I have a list of the members of the Brain-Team stored in my mind," Data said.  "However, it is terribly out of date; I created it during the Enterprise's voyage through the whole galaxy, when the Wilytwins gave us senior officers a presentation of the history of both teams.  There may be some discrepancies now."

            Jane Physicost said, "I already know one.  Dr. Wily and Ridley were the only two whom you knew for certain to be MotherBrain's most valuable subordinates.  A third person exists under that category, however:  Charles Nuclesís, James's and my archnemesis.  He's officially joined the Brain-Team Base, along with his three incompetent slobs, who are stupider than MotherBrain's two idiots."

            "Now, don't go jumping to conclusions, Jane," said Kevin.  "King Hippo and Eggplant Wizard are awfully dumb."

            Luigi added, "Mouser, Try-Clyde, and Koopa-Troopa are pretty stupid themselves."

            "Yes," said Prince Luis.  "Of course, my cousin would do well to be on guard more."

            "Indeed," Wilykit said.  "He made my job too easy."

            Antonio said, "He still doesn't know about it.  As Wilykit knows, he won't 'til he tries to use them.  That will be during his post-program speech.  However, I confirm MegaMan's suspicion.  MotherBrain will erupt into anger at discovering that Ludwig's powers have been removed.  She'll do something, and it won't be tickling our lord to death; that's certain."

            "Ha, ha," said Lana flatly.  "I wouldn't be surprised at anything that MotherBrain might do.  There was a time when some of her actions perplexed me, but no longer."

            Queen Peach Toadstool said, "I forgot what evil King Koopa's task is."

            "Keeping the Evil Koopa Army assembled," said Spike.  "He's also MotherBrain's assistant and confidant; he takes her place if she's planning to be outside the galaxy for some time.  I can't believe how much they love one another.  It must be a spiritual bond as well as a mental one."

            Chatonne said, "Well, Prince Luis certainly has some excellent literature on playing bowed instruments."

            "Thank you once more," said Luis de Koopa.  "I really took my teaching techniques and objectively compared them to Steelheart's, then presented the best advice.  I also used my student Élisabeth to help me with my latest books and periodicals on violoncello technique.  She's my best student in anything, and she really loves that Dvorák concerto.  Still, I couldn't help noticing Steelheart's A-1 'cello student."

            Antonio said, "Thank you.  I can't do that concerto with quite that much feeling and that special Bohemian flavour, but I haven't studied it much yet, either.  I did, however, study Tchaikovsky's Violin Concerto.  Steelheart found my performance adequate."

            "I shall never understand the excessive modesty that is Thunderian," said Steelheart.  "How dare you say that!  You play instruments in the violin family like Will and I play football!  Maybe even better!  So bloody admit it, Antonio!"

            Steelwill said, "I never will forget the anecdote your parents told us about you making your first violin.  I never knew someone who wanted to learn a stringed instrument so much that, at the age of five, he got the specs for a standard violin, got special Thunderian wood, and made the instrument perfectly on the first try."

            "That's the one I still play," said Antonio.  "My parents tried to get me to let them help me, but I wouldn't let them.  Just my brother, the most insistent of all by far.  I only recently finished my own violoncello; I learned on a reasonably good student model.  However, I far prefer my own."

            "That's it," said Chatonne.  "I've heard enough.  Antonio, please consider joining my instrument-making company.  No one I know has made such a great instrument by him- or herself, or with the assistance of only the twin, at such an age as you made your violin."

            "Thank you," Antonio said.  "I shall consider it."

            Lana said, "Well, I'll watch MotherBrain discreetly.  I'll tell you, Wilykit, of any suspicious actions on her part."

            "We'll help," MegaMan X said, referring to MegaMan and himself.

            "Okay," said Wilykit.  "Just don't stare."

            "We won't.  What about the second resurrectee?"

            "Watching at Panthro's with my B.F.  Beethoven will make the signal for them to come at the right moment."

            Beethoven said, "Yes.  The moment when Ludwig von(Bowser)Koopa will be most surprised.  I love modern technology; I can't tell you how much!  Whoever invented computers was a pure genius."

            "I don't know; it can get annoying as hell," said Steelwill.  "On Hawkhaven, our power systems and our propulsion systems hate each other.  Someone has to be there all the time to monitor the two systems groups, or we have to shut off the propulsion systems, which thankfully do not control orbiting.  If we shut them down, though, we have to spend hours recalibrating them.  We can't trust computers other than Data, MegaMan, and MegaMan X to do that for us, so we do it ourselves."

            "Your computer can't automatically regulate the two systems groups?" asked Antonio.

            "Not reliably."

            Moonstriker said, "However, the propulsion systems we have are the only ones in the universe that will interact with the power systems at all under any circumstances.  If we changed the power systems, we'd have to completely redesign the 200 other systems on Hawkhaven.  That would be very inconvenient.  Only five systems form the propulsion group; we'd overhaul that before anything else.  Gladly.  Except that our damned enemies won't allow alteration of any damned propulsion system in any damned way anywhere in this whole damned universe, nor will they permit the creation of a damned new one!  And yes, please pardon my French."

            "Probably to stay ahead of you," Beethoven said.

            Simon said, "No.  The Thunderians have already developed a propulsion system more powerful than his."

            Ludwig wandered in the general direction of the podium slowly; the orchestra quickly re-gathered.  A few more brass players and percussionists entered, as well as many more string players and some guitarists; a second full violoncello section then came in.  Ludwig's Third Symphony was for two violin sections, one viola section, two violoncello sections, one double-bass section, two guitar sections, two harps, two piccoli, four flutes, three oboes, three English horns, three clarinets, one bass clarinet, two bassoons, one contrabassoon, four French horns, five trumpets, two alto trombones (tenor trombones being acceptable substitutes), three tenor trombones, one tuba, and a varied percussion section.  In the percussion section were a piano, timpani, a glockenspiel, a xylophone, several drums, a triangle, a gong, cymbals, and castanets.

            Chatonne and Gatinha were slightly nervous.  Ludwig had had many courses in orchestration; they had had none, save that they had taught themselves the techniques of past composers.  Yet, they knew Ludwig was a superb orchestrator; he could easily transcribe a piano sonata or string quartet into a symphony with the boldest brass and percussion techniques imaginable, transforming several chamber works into the boldest symphonies of all time.  More importantly and more impressively, he could easily crush the instrumental forces and turn the loudest, most bombastic and most instrumentally diverse symphony into a sonata for one bowed instrument and piano in such a way that almost no emotional effect was lost.  Of course, he had revealed his techniques to Kevin, who turned the tables and surprised him by transforming Ludwig's Symphony number Two in E Major, the 'Imperial Symphony,' opus 120, a work with the boldest and densest orchestration of its day, into a brilliant sonata for solo violin!  More impressively, Kevin re-orchestrated this sonata back out into a brand-new symphony with even better orchestration than the original!  So, Ludwig was not quite the best orchestrator; Kevin was better.

            Anyway, Ludwig's Symphony number Three in c minor, 'Universal Empire,' opus 1100, was for several instruments and the human voice.  However, as would be the case with all the three grand symphonies performed, the singing was mostly in short phrases, not sentences; the singers would suggest ideas or feelings rather than narrate or give detailed descriptions.

            The end of intermission arrived.  "At this time," said Ludwig, "I shall present the greatest achievement of my musical career, Symphony number Three in c minor, 'Universal Empire,' opus One Thousand One Hundred.  I have borrowed from the techniques of several past composers, including Beethoven, even going so far as to borrow the central motive from his Fifth Symphony and, indeed, the major idea of the entire work.  I haven't told anyone yet, but in this symphony and my previous two, I have used a form developed by two past composers; in this one, I have used some of their theme-repeating devices.  As I have implied, I took Beethoven's c minor mood to the extreme.  Aside from my use of established techniques, I've also used some quite dramatic compositional techniques.  To assist you, I suggest you pay special attention to the opening theme.  The two motives - the first being Morse code for F and the second being Morse code for V - are the principal subjects of development throughout the entire work."

            He began conducting.  Submovement A, Quick with brilliance, of Movement I, Quick with much vivacity, was a bombastic piece in sonata-allegro form (exposition, repeat of exposition, development, recapitulation, coda).

            The loud first theme in c minor used the very same sequence of tones that Beethoven had used:  G E-flat F D.  However, they were now arranged in this sequence:  short G, short G, long E-flat, short E-flat, rest, three short F's, and one long D.  The F motive followed by the V.  The expansion of this theme brought highly volatile tensions between the two motives; but it ended when the trombones and horns stated the entire bridge section:  three short B-flats, one long G, one long A-flat, and one long F, a modification of the V motive stated heroically in E-flat Major and a duplication of the bridge from Beethoven's Fifth.  The second theme, soft and lyrical, came in that key.  The expansion grew louder, and the two explosive motives returned to end the exposition in a dramatic codetta in E-flat Major, coming to a dead halt.  The exposition was repeated.

            At the opening of the development, the eight opening notes reappeared; then, what little restraint was being used disappeared.  The two motives underwent explosive changes; key changes ran rampant.  The F and V motives collided chaotically.  Changes between quiet and deafening were sudden, nearly unpredictable.  The heavy artillery and the battery of the orchestra, the brass and percussion, were getting their workout.  Through countless manipulations of the two motives, Ludwig succeeded in making his audience anxious for the return of the motives in their original form.

            When complete chaos seemed imminent, the orchestra restated the eight-note theme in c minor.  The recapitulation was longer than the exposition, slower and more relaxed.  Mostly, it was identical, except there was no modulation to E-flat Major; the second theme was in c minor.

            The coda, the end of the submovement, was fast and furious.  Dark and scary development occurred; the coda ended the submovement on an ominous chord.

            Submovement B, Super-quick with much darkness, was very fast and much darker than its predecessor, but it was more graceful.  Unlike the first submovement, where the stark motives were abruptly smashed together in detached, staccato fashion, the melody of the second submovement was flowing and joined; the motives were smoothly combined.  Still, the darkness only grew in intensity.  This submovement was in abbreviated sonata-allegro form:  theme 1 and its expansion in c minor; modulating bridge to E-flat Major; theme 2 in e-flat minor; codetta in e-flat minor; development; theme 1 in c minor; bridge to Submovement C.  The first theme was foreboding, constructed again with the F and V motives.  The modulating bridge modulated from c minor to E-flat Major, rendering a false sense of hope.  The second theme, even darker, was lengthy; it began in major, but G soon shifted to G-flat, transforming the key to e-flat minor.  Near the end of the expansion, the motive combinations grew slightly violent, but they were still controlled.  The quiet codetta seemed twisted, abhorrently wrong somehow, as it was very chromatic.

            The codetta led into the development.  Even though it did not possess the nuclear explosions of the development in Submovement A, this development was much more violent from a psychological point of view.  The dramatic piece demanded all the energy of the violinists and violoncellists, all the lungpower of the trumpeters and trombonists.  The sinister power of the F motive was displayed in every minute detail; the description painted a horrifying picture.  Lyricism and dramatics were combined seamlessly into a work of great genius.

            The end of the development had a violent climax; the V motive (in E-flat Major) attacked the F motive; for half a minute, the chaotic atmosphere returned.  However, the F motive (in c minor) prevailed; the first theme of Submovement B returned and ran its course once more.  The ensuing bridge modulated to C Major and led into the third submovement.

            Submovement C, Moderate and thankful, was a lyrical minuet and trio that provided a pleasant break from the activity of the other two parts of the movement.  Cast in loose ABA form, it was a piece of relief; the V motive was used to thank the F motive for sparing it.  The A theme was a peaceful dance in C Major; the B theme was a marchlike piece in E-flat Major using solely the trumpets, French horns, and trombones.

            The second movement, Faster than walking speed, contained two themes (the first in A-flat Major, the second in E-flat Major) and variations on the themes.  The first theme was based loosely on the V motive, the second on the F motive.  The variations lyrically altered the themes until they were identical; this final variation was played loudly and sorrowfully in c minor.  After a quiet repetition of the two themes in their own keys to give the movement a loose sonata-allegro form, the movement ended.

            Movement III, Fast scherzo:  quick, was not a joke in character, but it was rather lively nonetheless.  The violoncelli began with a mysterious, quiet introduction in their lowest register in c minor.  Then, the trumpets and horns blared out the scherzo theme. . . the F motive and the V motive again.  The theme was expanded by the strings and woodwinds.  The intro was repeated, but it had been revised for a dramatic climax; the theme and its expansion were repeated.  Then, a codetta consisting of a dramatically varied form of the intro and just the theme itself, not the expansion.  In C Major, the bassoons, trombones, and violoncelli presented the energetic trio theme; the piano expanded it in the octave two C's below middle C.  The mysterious scherzo introduction returned; very quietly, the scherzo theme was repeated by the guitars.  Here, the varied orchestral forces achieved their full effect, but quietly and mysteriously, not loudly and boisterously.  The percussion instruments each quietly echoed the double-motive theme.  The mystery commanded attention.

            This led into Movement IV, Complex scherzo:  slow and sustained.  Like many scherzi {skehrt-sé}, this movement was in ABA form.  The scherzo part (part A) was very short; it contained a mysterious theme in c minor with purely songlike expansion.  The suspenseful trio section, in quasi-sonata-allegro form, presented two themes, a development, and the two themes again.  Theme 1 was an agitated form of the F motive in G Major; theme 2 centred around the V motive in C Major, again mysterious.  The development was very active in fast notes; the V and F motives again collided, but in ballet-fashion.  The development ended and returned to C Major.  The repeat of theme 1 altered the theme to make it seem that the F motive was dying away.  After a modulation to E-flat Major, theme 2 returned, this time victorious.  The scherzo part then returned in C Major; the mysterious theme had become loud and exuberant.  The fourth movement ended abruptly.

            Movement V, Finale:  rather quick, was cast in the same sonata-allegro mould in which Submovement A had been presented.  The difference was obvious.  The finale was a victory celebration in C Major.  Theme 1 was a powerful melody; its opening three notes outlined the C Major chord.  It led triumphantly to a lyrical bridge theme that led into G Major.  A few measures later, theme 2, a lively, lyrical theme, came in on the woodwinds.  The expansion of the theme led into a decisive codetta by the violas, clarinets, and piano.  The exposition was repeated.

            The beginning of the development continued the victorious nature of the exposition.  In the key of E-flat Major, the melody became more victorious; the piccoli and trombones added special flavour.  Soon, however, the melody turned tragically on itself; the first theme of Submovement A returned in c minor.  The loud chaotic expansion followed.  However, the bridge modulated to E-flat Major, and the exposition of the finale was repeated heroically, this time completely in E-flat Major.  The long coda was a victorious fanfare ending the symphony.  (All during this work, the chorus sang phrases suggestive of the mood.  The voices were a colourful addition to the instruments.)

            As soon as the symphony had ended, everyone applauded Ludwig.  "Thank you," said Ludwig.  "Both the orchestra and the chorus did well.  My next symphony, Symphony number Four in C Major, is very short, so I call it 'My Little Symphony.'  It has only three movements, none really slow."

            True to his word, the symphony was short, but it was remarkable nonetheless.  It was entirely instrumental; it was for an orchestra with two flutes, two oboes, two clarinets, two bassoons, three French horns, two trumpets, timpani, one piano, two sections of violins, one section of violas, two sections of violoncelli without double-basses, and one section of guitars.  In other words, a moderate to small orchestra.  Movement I, Quick with brilliance, was in abbreviated sonata-allegro form (meaning simply that the exposition was not repeated).  The first theme was a dramatic theme expanded by concise motives.  The short bridge led to E-flat Major; the second theme came, a lyrical, flowing melody.  The short codetta in E-flat Major used a dramatic combination of theme 1's motives.  It led straight into the development.

            The development concisely varied theme 1, explosively rearranged motives, and expanded the theme by repeating the principal motive, all in the minor mode.  Then, theme 1 returned in C Major.  The second theme was modulated to C Major.  The coda provided dramatic treatment of the main theme; the movement ended on a joyful note.

            Movement II, Scherzo:  a little faster than moderate, was a short movement of moderate speed.  The main theme was a melody in D Major built up of motive fragments left over from the first movement; it, too, was a dramatic piece.  The trio was a graceful minuet in A minor; the melody was also songlike.  The scherzo theme in D Major returned and ended the movement.

            The final movement, Rondò alla Cossaca:  super-quick, was as much a drama as it was a mad dance in swirling Cossack rhythm.  It was presented in ABACABA form, one of the most common rondò forms.  Theme A was a suspenseful piece in c minor based on motives from the first movement.  B was a fast, songlike theme in A Major.  C was a quasi-development section, fragmenting and combining elements from A and B; C was in d minor.  The final A had a short coda, which turned the dramatic theme into a resolving theme and ended the work.

            Everyone applauded when the symphony was finished.  No one could deny anymore that a short work could contain material as dramatic as a long one.  "Thank you," Ludwig said.  "Now, I hand the show over to the Tygra-twins."

            Chatonne and Gatinha rose; receiving much applause, they walked to Ludwig and each shook his hand.  He sat down; the orchestra began splitting.  "While the orchestra is rearranging itself," said Chatonne, "we'll tell you what we've done.  The only time the chorus sings actual sentences is during the Recoronation March.  It's the beginning of the third movement.

            "Also, we have just made a revision.  Movement II is now labelled Funeral March:  slow and lamentatious, a belated funeral march for Lion-O.  We have not made it guesswork in figuring out what we wish to express; the computers you have will automatically supply you with that information at the proper points.  Also, since our representation of our simple harmony is so complex, the essential melody is highlighted on the computerised scores to assist you.  This is so you'll get out of the symphony at least all that you need to understand what we mean.  Now, our Symphony in D-flat Major."

            Once the split was complete, Chatonne got in front of the section with Jean-Léonard as concertmaster and principal first violinist; Gatinha went in front of the half whose principal first violoncellist was Élisabeth.  Without even looking each other, they began conducting at the same instant.

            Movement I, Slow, then quick, was divided into three spacious submovements.  Submovement A, Slow and sustained, and then quick with brilliance, began with a slow introduction, which the Tygra-twins used most of the time.  The intro was rendered in the key of d-flat minor, which required a double-flat on B.  (The practice had been started by the male 'Anonymous' Composer and continued by Emperor Ludwig, both of whom stated that anything up to twelve-time flats and twelve-time sharps was acceptable theoretically.  In practice, though, neither ever went below C-double-sharp Major [a-double-flat minor] or above C-double-sharp Major [a-double-sharp minor], since the practice of using separate keys could get very confusing anyway; putting triple-flats or triple-sharps could get disastrous.)  Suspense filled the quiet introduction, the melody being performed on the violins and violoncelli.  Would this be another savage movement?

            Certainly not.  The introduction gave way to a submovement in sonata-allegro form; in true D-flat Major, the violoncelli presented the dramatic first theme, heroic in nature.  The strings and woodwinds brilliantly expanded the theme.  A short bridge led to b-flat minor, the relative minor to D-flat Major.  In b-flat minor, the woodwinds stated a lyrical theme that sharply contrasted theme 1.  Also, the message was different; in effect, theme 1 was, 'I am your hero.  You've absolutely nothing to fear.'  This theme 2 was, 'Okay, I may be wrong.  I won, but the enemy is not really defeated.'  After theme 2, the codetta came in b-flat minor, a return of the motives central to theme 1.  The codetta had two versions.  The first modulated back to D-flat Major and led to a repeat of the exposition (theme 1 to the codetta).  The second remained in b-flat minor and led into the development.

            The development was explosive, but heroically so.  Modulation between F-flat Major and B-flat Major, the lower and upper extremes respectively of the single-flat major keys, was free and constant, lending dramatic and heroic colour to every note.  The brilliant orchestration gave each instrument its time to deal with at least one motive from theme 1.  The full orchestra produced the titanic, heroic climax of the submovement with a loud statement of theme 1 in E-flat Major at the end of the development.  The short bridge consisted merely of a slide from E-flat to D-flat in the string section; the themes then returned in the D-flat Major recapitulation; the lyrical second theme was a slightly hesitant song of victory.  The coda, also in D-flat Major, was a remodulation of the codetta with a dramatic expansion-through-repetition of theme 1's principal motive.  However, the final chord - the final sound - of the submovement shattered the heroic atmosphere as well as the sense of unity between the two halves of the orchestra. . . a very loud d-flat minor chord in Chatonne's half, an equally loud D-flat Major chord in Gatinha's half.  Even without a score, even on a bad recording, it would be evident that one half was using the major scale and the other half was using the minor.

            Submovement B, Super-quick and vivacious, was a thunderous work at once both chaotic and heroic.  Chatonne's half asserted the e-flat minor tonality, while Gatinha's fought back with E-flat Major.  The submovement was in abbreviated sonata-allegro form:  theme 1 and its expansion in the tonic key of E-flat, bridge to B-flat, theme 2 and its expansion in B-flat, development, remodulation to E-flat, theme 1 and its expansion, theme 2 and its expansion modulated to E-flat tonic, bridge to Submovement C.  Chatonne's half of the orchestra played in the minor mode, Gatinha's in the major.  Theme 1 used the motives of the previous submovement to invent a detached, explosive melody that portrayed well a conflict.  The second theme was more lyrical by far; mysteriously, it was built entirely on notes that did not differentiate between major and minor.  However, the codetta and development were highly volatile.  This development, too, moved freely between F-flat and B-flat; the greater conflict was between major and minor.  The battle was a no-win situation; neither half could win.  Chatonne's half attempted to force the minor onto Gatinha's, Gatinha's the major onto Chatonne's.  Whenever one side gained ground, the other matched.  Finally, the remodulation to E-flat came; theme 1 and its expansion were repeated.  With no bridge interceding, theme 2 and its lyrical expansion returned in E-flat.  After theme 2 came a bridge that led to Submovement C without a break.

            The Tygra-twins had cast Submovement C, Moderate, in the abbreviated sonata-allegro mould as well; it was in D-flat Major.  Theme 1, in D-flat Major, was a lyrical cool-down theme.  Since her half of the orchestra had changed keys and shouted themes more energetically, Chatonne's half slacked off, as she had instructed, during the expansion.  Gatinha's half modulated to C Major and presented theme 2, composed of the same motives as the first themes of the previous two submovements.  However, they were combined quite lyrically now into a pleasantly heroic melody.  The expansion and codetta were full of classical grace.  The development was rather calm; only the woodwinds played here.  The development centred more on theme 2; its motives were gently rearranged and altered.  The entire section modulated from C Major down through F, B-flat, E-flat, A-flat, and D-flat Major.  Once D-flat Major had been reached, theme 1 was repeated, then its expansion.  Still in D-flat Major, theme 2 and its expansion came back.  The coda synthesised theme 1 of Submovement A, theme 1 of Submovement B, and theme 2 of Submovement C, then ended the movement on an uncertain note.

            Movement II, Funeral March:  slow and lamentatious, was unparalleled as a funeral march.  It was in f minor.  The form was a double sonata-allegro form:  theme 1 and its expansion in f minor, bridge A modulating to c minor, theme 2 and its expansion in c minor, codetta in c minor, development of themes 1 and 2, return of theme 1 and its expansion in f minor, return of bridge A staying in f minor, return of theme 2 and its development in f minor, bridge to g minor and theme 3, theme 3 in g minor, bridge B modulating to d minor, theme 4 in d minor, codetta in d minor, development of themes 3 and 4, return of theme 3 in g minor, return of theme 4 in g minor, coda in f minor.  All parts concerning themes 1 and 2 constituted Lion-O's funeral march.  The parts concerning the third and fourth themes were Gatinha's lament for the universe because of what Ludwig had done to it.  Theme 1 was a painful little fugue constructed with motives used earlier.  Theme 2, first in c minor, was based on a Thunderian death song which had been used for Tygrana's funeral.  Wilykat had suggested the melody for that funeral because Tygrana's death had made him so sad.  Tygra also deemed that the melody was perfect for Lion-O's death march.  The codetta combined the essence of the two themes well.  The development of the first two themes was most likely one of the most sorrowful pieces of all; few other works could rival it.  Elements of themes 1 and 2 were combined masterfully from f to b minor creating colours intense enough to cause Vulcans to weep.  In f minor, themes 1 and 2 returned.  A bridge then modulated to f minor; Gatinha's half, assisted by Jean-Léonard, presented the rest of the movement in the manner of a concerto, where Jean-Léonard was the soloist.  Theme 3 was contemplative.  Theme 4 was another Old Thunderian death song, this time in d minor; its focus had been on the loss of life during the great wars that young Jaga stopped and then on the loss of entire worlds during the war with the Plundarrian Empire.  Now, it was Gatinha's lament for the universe, something like a funeral march for the people of the galaxies.  The codetta skilfully combined the essence of themes 3 and 4 and led directly into the development of those two themes.  This development came close to outdoing that of themes 1 and 2; the section was full of sorrowful melody.  Every note, every shift of key, contributed to the sorrowful atmosphere, as did the imaginative use only of Gatinha's woodwinds and Jean-Léonard, Chatonne's principal violinist.  A shift to g minor, and the two themes returned back-to-back.  The coda, coloured in morbid shades of grey that were nearly beyond human imagination, wandered through all four themes, finally ending in f minor.

            Movement III, Fast scherzo:  moderately quick, began with the Recoronation March as the scherzo section.  This went pretty much as it had during Wilykit's recoronation.  The trio theme was a mysterious minuet in A-flat Major; Chatonne's half of the orchestra kept falling into a-flat minor, creating a sense of wandering.  The instrumental version of the scherzo returned in D-flat Major.  A held note led into the next movement.

            Movement IV, Complex scherzo:  a little slower than walking speed, was absolutely nothing like the other slow movement, the second, except that they shared motives.  It was literally a dance movement, the most light-hearted - the only totally light-hearted - movement in the symphony.  The D-flat Major scherzo theme was a moderate Thunderian dance, somewhat similar to the minuet but a little more playful.  It shared the motivic fragments of the earlier movements, bringing the notion of some sort of dance of faith.  The leader had returned, contrary to the death the second movement had narrated.  Maybe, then, the leader could overcome the universe's fate?  The chorus bolstered the notion by singing phrases of faith.  The trio in A minor was a Thunderian waltz, filled with thirty-second notes so as to seem fast but really getting nowhere.  To make this a true trio, the only ones who played were Élisabeth (Gatinha's principal violoncellist), Frédéric (Gatinha's principal flutist), and Will Riker (Chatonne's principal trombonist), conversing excitedly.  The minor mode could have represented the plighted people, desiring freedom from their evil emperor and talking about their hero.  An extended form of the scherzo theme returned and finished the movement.

            Movement V:  Finale:  super-quick and majestic but also joking, was one of the longest movements in symphonic literature, and it wasted not a note.  Sonata-allegro form was used at its maximum normal length - slow introduction, exposition (theme 1 and its expansion in D-flat, bridge modulating to E-flat, theme 2 and its expansion in E-flat, codetta in E-flat), repeat of exposition, development, recapitulation (exposition entirely in D-flat; E-flat sections all transposed to D-flat; codetta not included in this part), and coda (including codetta, transposed to D-flat).  The introduction was a mysterious theme running in the lowest portions of the bassoons and violoncelli.  Soon, the atmosphere of the second submovement of the first movement returned; Gatinha's half of the orchestra played in the major mode, Chatonne's in the minor.  In the tenor trombone's highest register, Will Riker quietly presented theme 1 in d-flat minor; it, too, was constructed with already used motives.  Immediately, just a bit more loudly, Frédéric and Élisabeth simultaneously presented the theme in D-flat Major in their instruments' highest registers once Riker had finished.  Immediately afterward, Simon and Jean-Léonard loudly reasserted Riker's version simultaneously in explosive detached fashion in their instruments' highest registers.  Link hammered out the Astucieux-twins' version even more violently in four octaves at once!  The main action in the movement would feature these six players. . . on Chatonne's side, the principal violinist, principal trumpeter, and principal trombonist; on Gatinha's side, the principal violoncellist, principal flutist, and pianist.  Of course, all the players would get their exercise, but the six feature players would be the leaders, bolstered by the lesser players on their team.

            The expansion of theme 1 was built with continuous use of the first two motives of the theme; the situation soon became so volatile that Frédéric, as the score commanded, broke off and entered a hasty bridge section; he began the gentle second theme in E-flat Major.  He and Jean-Léonard took turns handling the lyrical melody, he in E-flat Major, Jean-Léonard in e-flat minor.  The codetta used some of the tension of the first theme.  The exposition was repeated.

            The development was the height of the orchestral battle.  It passed all set precedence for epic-dramatic music.  The imaginative use of the battery of the orchestra, the percussion, to bolster the primary players complemented the explosive melodies and harmonies.  The enormous section, roughly two-thirds of the movement in length, promised to command the listener's attention every time it was heard, for it was fresh each time.  The motives of every movement were used in a variety of ways; rapid key changes heightened the listener's excitement.  Of the thousands of notes, not one was unnecessary.  Although the skill of orchestration did not match Ludwig's, the instruments were used imaginatively and well, particularly the six leading instruments. . . violin, trumpet, and trombone under Chatonne's baton, violoncello, flute, and piano under Gatinha's.  The bombastic climax was near the very end of the development.  The orchestra was back to D-flat; all players were playing as loudly as possible.  Chatonne's half was blasting d-flat minor chords in the rhythm of the motives, Gatinha's half D-flat Major chords.  During a minor-chord arpeggio (an arpeggio being where the notes in the chord are stated one after another instead of in blocks), Chatonne's instruments trilled the second note, the third degree of the scale (which differentiates between major and minor), between F-flat and F; F-flat made it minor, F made it major.  This dramatic trilled note was to be held until the bowed instruments' bow was gone, until the wind players' breath was exhausted completely.  The next chord was a heroic D-flat Major chord with the note F!

            Just after that, the recapitulation came, played at an even faster speed than the original presentation.  Both halves of the orchestra played in the major mode.  Both themes were now melodies of heroic victory in D-flat Major.  The coda's first part was the codetta transposed entirely to D-flat Major.  Simon and Riker backed Jean-Léonard, Élisabeth, Frédéric, and Link in the dramatically victorious coda.  The heroic theme from Submovement A in Movement 1 returned triumphantly before the grand ending of the work. . . a heroic D-flat major chord from the whole orchestra and the entire chorus to be held as long as physically possible.

            Massive, enthusiastic, jubilant applause was granted the Tygra-twins.  They were very happy that their symphony was such a grand success.  The great Beethoven was the first to stand; the first to follow were the Wilytwins.  Seconds later, Chatonne and Gatinha were earning the greatest standing ovation ever in the history of music.  They nodded to each other and came together at the midpoint between their conductor stands.

            "Thank you all," said Chatonne when the applause was finished.  "Too bad earlier composers didn't have an audience like you during their creative periods.  We have no works that can serve as an encore, but our next works shall be a flute concerto, a violin-and-violoncello concerto, a violin concerto, and a piano concerto, all under the same opus number.  Also, we may soon give the first performances of our chamber works."  The applause told her that she had just told them what they wanted to hear.  "But just wait until you hear Beethoven's Tenth!"  She and her sister left the stage.  Beethoven came on as the orchestra was reassembling.

            "That was a truly marvellous work," said Beethoven.  "They did all that without the benefit of all the orchestration classes that our emperor had.  If they need a title, I can suggest one right now. . . 'Heroic'!  I think it's a perfect heir to my Third Symphony.

            "You may find it strange that I've had time to write my longest symphony and practise it.  It was an act of pure inspiration.  Partly, that I was able to write it so quickly is due to modern technology.  I too use the chorus just for words or phrases suggesting moods."  The orchestra was now back together.  "Now, my Symphony number Ten in b minor."  He ascended to the podium and began.

            The symphony was for two piccoli, four flutes, four oboes, two English horns, four clarinets, two bass clarinets, three bassoons, one contrabassoon, four French horns, four trumpets, two alto trombones, three tenor trombones, one bass trombone, one tuba, piano, two sets of timpani, triangle, gong, drums cymbals, xylophone, two sections of violins, one section of violas, two sections of violoncelli, one small section of new instruments called bass violoncelli, one section of double-basses, one section of guitars, and two harps. . . and chorus with a soprano soloist, an alto soloist, a tenor soloist, and a baritone soloist.

            Movement I, Slow; quick and lively with fire, began with mysterious figurations in the bass violoncelli with a dark melody far above in the piccoli.  Soon, the brass sent out a very loud b minor chord that led into the movement proper, a long and explosive affair in sonata-allegro form.  The 45-minute movement was not divided into submovements, but there were audible breaks between the four sections:  exposition, repeat of exposition, development, and recapitulation.  The exposition contained the powerful theme 1 in d minor and its expansion; the lengthy bridge leading to e minor; the dark and brooding but flowing and lyrical theme 2 in e minor; and the black, explosive codetta in e minor.  In this work, Beethoven ensured repetition of the exposition by writing out the repeat and altering the melody by changing instruments, changing octaves, and using different words in the chorus.  However, he did not drastically alter the exposition, just enough to ensure that the orchestra would have to repeat it.  The lengthy development was filled with variety, every ounce of it bearing the inimitable stamp of Beethoven.  In this development, he presented the whole of the instrumental solos; the pianist (Link), the concertmaster violinist (Jean-Léonard), the principal violoncellist (Élisabeth), the principal guitarist (Kevin), the principal flutist (Frédéric), the principal oboist, the principal clarinettist, the principal bassoonist, the principal trumpeter (Simon Belmont), and the principal trombonist (Will Riker) each received the opportunity to show off virtuosity yet in Beethoven's artistic manner.  This time, every soloist pleased him very much.  Every performer delved deeper and deeper into Beethoven's purpose.  Each solo part, each cadenza was related irrevocably to the thematic material; they had made the cadenzas fit Beethoven's musical environment.  After some time came Link's final cadenza, which was to modulate to d minor.  Before that, however, Link further developed the first theme, making full use of the piano's technical abilities.  Beethoven was amazed; Link had created a cadenza that most artistically delved into Beethoven's theme, expressing every ounce of information powerfully and constructively.  Link modulated to b minor and gave the unmistakable trill signal.  The recapitulation imitated the exposition, except that every part in e minor was transposed to b minor.  The coda began with the return of the codetta transposed to b minor; then, parts of the two themes were violently juxtaposed.  (Still, Beethoven used more control than Mahler had.)  The movement ended on a violent tone.

            Movement II, Moderate, was in abbreviated sonata-allegro form.  The order of material was:  theme 1 and its expansion in c minor; short bridge modulating to a minor; theme 2 and its expansion in A minor; codetta in A minor; development, ending in A shift to c minor; theme 1 and its expansion in c minor; short bridge staying in c minor; theme 2 and its expansion transposed to c minor; coda in c minor.  Theme 1 was dark and sinister yet lyrical, composed of seamlessly combined motives.  Theme 2 was a sad piece showing a new ability Beethoven had recently developed:  the capacity of Schubertian songfulness.  It was his ears themselves, listening to songs by Franz Schubert, Robert Schumann, and Johannes Brahms, that developed it.  The chorus soloists sang lamentful phrases that indicated indirectly how sad it was that the universe's rulers could read their thoughts and do anything they wanted.  It was as if the first movement was the conquest of the universe.  The development was a tearful section that gently used motives from theme 1 and parts of phrases from theme 2.  The coda revealed the connections between the two themes.

            Movement III, Fast scherzo:  quick, was a true Beethovenian scherzo.  The scherzo theme, in b minor, was fast and lively, but it had a sense of remoteness and strangeness.  The trio theme, in D Major, had a ring of hope in it.  The scherzo theme never returned, for the trio section led into the next movement.

            Movement IV, Complex scherzo:  walking speed, was more of a twisted minuet than a scherzo.  The scherzo theme was a minuet-like piece in b minor with the enchanting character of the main theme of the second movement of the Seventh Symphony.  After a modulation to f-sharp minor, the trio sounded in the woodwinds; imaginatively using the motives of the first movement, the trio continued the atmosphere of the scherzo theme.  The scherzo returned in b minor, but quietly and mysteriously.  The superb variety of instrumentation only increased the mystery, as did the frequent modulations between major and minor.  After a while, the energy built up to a roaring climax on a held note leading directly into the next movement.

            Movement V:  Rondò and sonata:  quick, began as a lively rondò but transformed dramatically into an epic sonata-allegro.  The form was:  section A in b minor; section B in B Major; section A in e minor; section C in E Major; theme 1, based on the theme from section A, and its expansion in B Major; bridge to g-sharp minor, the minor relative to B Major; theme 2, based on the theme from section B, and its expansion in g-sharp minor; codetta in g-sharp minor; development; theme 1 and its expansion in B Major; theme 2 and its expansion transposed to B Major; triumphant coda in B Major.  The theme of section A, which was to become theme 1, was a resolute, deliberate melody in its minor form, a victorious and certain melody in its major form.  It was built upon the motives used in every movement before.  The theme from section B was a quiet woodwind melody with plucked bass violoncelli and guitars as harmonic accompaniment; the theme was mysterious, indicating uncertainty as to what was to happen next.  The theme of section C was a stumbling foil to the deliberate theme of section A.  The expansion of theme 1 further expanded the motives used earlier.  Theme 2 came from the theme of section B; in g-sharp minor, it possessed the same enigmatic character.  In its later B Major form in the recapitulation, theme 2 was a lyrical song of victory.  The codetta, leading into the development, continued the uncertain atmosphere.  The development raged in the minor mode; soon, it climbed upwards to a triumphant climax in B Major; here, theme 1 of the first movement returned in B Major, then the two themes of this movement in the recapitulation.  The coda was a triumphant close with a brilliant combination of the three themes.

            At the close, everyone gave Beethoven a standing ovation.  They understood his great symphony.  First, do not fear your evil rulers; they will be dealt with by the heroes of the universe and soon.  Second, pay close attention to everything when listening to recordings of this symphony, especially the motive developments, which will tell you how to keep the evil rulers from reading or stealing your mind.  He had used a slightly programmatic slant that everyone got.  Abstractly, this was a tremendous piece of music to rival all symphonies.  It and the Tygra-twins' First Symphony would stand together as two of the greatest works of the century.

            "I have another work to present to you," said Beethoven.  "A titanic predecessor to the works presented here today.  Be not deceived by the small size of the orchestra I have assembled for presenting this work; the composers could do a great deal with only one horn, one trumpet, one trombone, and one tuba."  Most of the orchestra left for the spectator seats.  The 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 contrabassoonists, 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) that had gathered the night before in Tygra's home on Thundera came together in the centre of the massive arena.  The stringed instruments were much improved from those in Beethoven's day; they were made of wood powerful enough that a violin could match the loudness of a trumpet.

            Beethoven said, "This is the Symphony number Ten in f-sharp minor, 'Titanic Symphony.'  Its title is appropriate.  At its time of performance, it was the single most significant orchestral work in existence.  A few years later, it would be supplanted by a pair of violoncello concerti that are most likely the greatest orchestral works of all time; this symphony and the concerti were written by the same pair of composers."

            The performance of the symphony began.  The performers did even better this time, like surpassing a previous record.  From the slow and nervous beginning to the dark and mysterious ending, every player did his or her best.  Each instrument stood out radiantly against the others, even the violas against the violins.  Despite the dark, despairing mood of the work, the audience loved it and gave it all their applause in a standing ovation.

            "Thank you," Beethoven said.  "Now, the emperor has his announcements to make."  All those in the arena went to their seats.  Ludwig came down to the arena after leaving his note cards with Larry.

            "Thank you, Ludwig van Beethoven," Ludwig said.  "In fact, I was about to talk about the composers of that work.  They are the 'Anonymous' Composers because I have covered up their existence.  They were a husband-and-wife team; the male 'Anonymous' Composer began his musical career with a set of five sonata cycles that pretty much did in Schoenberg's concept of atonality.  He was a brilliant composer; he could orchestrate quite well.  Though he could write well for virtually any instrument, his natural expression seemed to come through the best on the bowed instruments, the violin and violoncello in particular.  His wife was really just an inspiration, but just enough of one for him to give her some of the credit.  She could play violoncello like Astucieux-élisabeth.

            "The male also wrote novels so popular that he decided to make music dramas out of 'em.  His operatic works sharply rival, maybe even surpass, those of Wagner and Verdi.  He could write good vocal and instrumental music like crazy; his dramas have the symphonic quality of Wagner's, as well as the singing quality of Verdi's.  He could also write a concerto like crazy; his natural affinity for the form can be shown easily with any movement from any one of his concerti.

            "His mixture of classicism and romanticism is thoroughly incomparable.  He could write a completely Mozartian symphony one time of day and then write a Mahlerian symphony that same day, which also says something for his ability for quickly creating works.  In the time that it took Handel to write the Messiah, twenty-four days, he could finish twenty-four enormous and superb symphonies for a massive orchestra.

            "Above all composers, he revered Ludwig van Beethoven.  He borrowed much of Beethoven's work and reworked it remarkably and creatively.  Most often, he used the same themes but changed the extensions and developments remarkably.  He possessed the genius of Mozart and Beethoven, along with the compositional abilities of many great composers that had gone before him.  He wrote superior works in every medium that existed in his day; in fact, I bet he would have given anything for a violin made of Thunderian wood.

            "He was recognised by the public almost from the beginning.  His first few works did have something of a lukewarm reception, but the tide really turned in his favour when he included the guitar in his works.  Mahler may have introduced the guitar into the orchestra, but it was up to the male 'Anonymous' Composer to give it a role comparable to that of the other strings.  He also became known for his ability to use any instrument's abilities to the fullest.  He usually never used the piano alone but in concert with a stringed instrument, for he merely disliked the piano's popularity as a solo instrument over the stringed instruments.  He admitted it was a matter of personal tastes, and his sonatas for solo piano, along with his piano concerti, all belong in the instrument's repertoire for every good reason imaginable.

            "Now, I shall explain why I covered up knowledge about the 'Anonymous' Composers.  Their music and their novels are superb, but the male was granted the ability to tell exactly what would happen now!  He predicted my conquest of the universe.  He predicted many things that would not happen until long after he died.  He felt that it was simply a superb story-telling ability granted by God.  Programmatic meaning can be interpreted into his most abstract works to reveal even more of his predictions; the grandest example is in the operas, of course, which give the most direct predictions.

            "I covered up all records of his and his wife's existence just before I officially declared this galaxy my empire.  I did not want anyone getting any ideas; however, I had no right to do what I did.  I used several of his ideas, including the two sections of violoncelli.  MotherBrain, release the hold of that knowledge on everyone who has it and on every computer system that has it in this galaxy and the Galaxy of Leos."

            "Yes, Ludwig," said MotherBrain.  She did.  The N-Team was shocked.  Everyone in the galaxy was shocked!!

            "What!" cried Wilykit, jumping up.  "I studied them on my own, Emperor!  You're lucky this isn't Thunderian soil, mister.  I do not take this cover-up lightly."

            "Please calm down, Lord of the Thunder Cats," said Ludwig.

            Wilykit calmed down.  "Beethoven," she said, "call our friends here, anyway, even though you didn't have to reveal Ludwig's cover-up of the 'Anonymous' Composers."

            "Very well," said Beethoven.  He took his hyperspace radio out of his pocket.  "Gad, I love modern technology."  He turned it on and called Lion-O and Wesley.

            "What friends?" Ludwig asked suspiciously as Wilykit neared him.

            "Oh, you'll be familiar with them," said Wilykit, smiling deviously.

            Wesley and Lion-O popped into the arena near Wilykit and Ludwig.  Most of the audience and all the Brain-Team were shocked, including Ludwig!  "What in the universe!!!" Ludwig screamed.  "Wesley Crusher!!!  How'd you get back here?!?  I locked you out of this universe when you returned to your home universe!!!"

            "I'm how," said Wilykit.

            "She made it so I could jump back into the Q-niverse," said Wesley.  "And so I could help bring back Lion-O from the grave to which he was so unjustly sent."

            "How'd you do that?" Ludwig demanded.

            "Why, I brought the Picard from my universe here, because it was only through him that Lion-O's spirit could be channelled, as it was only through you that Beethoven's sprit could be channelled back to the body."

            "And I'm better than ever," Lion-O said.  "Unlike Beethoven, I remember the period between my improper death and my return to this universe.  I met the spirits of the 'Anonymous' Composers, and they were most unhappy with the way you covered them up."

            Ludwig said, "Well, in case you weren't listening, I just uncovered them.  So, what good are you now?"

            "I think you'll soon discover, Prince Ludwig."

            "And how was Wilykit able to relax my invisible hand keeping you from jumping back into this universe, Wesley?" Ludwig asked.

            "Ask her," said Wesley, smiling.  "I'm not going to ruin it for her."

            "You know that day Eggplant Wizard took us to Quicksilver?" asked Wilykit.

            Ludwig said, "I didn't know about that."

            "I do!" Larry said.  He came to the arena and went to Ludwig.  "According to the dolt, Quicksilver said that the Wilytwins and also the Wondertwins were subject to rather adverse effects from the lithium super-Thundrainide you put in their collars.  Hence - this is Eggplant Wizard's report, now - Quicksilver gave the Wilytwins and Wondertwins a treatment that would counteract the adverse effects and keep the two pairs of twins as you wanted them."

            "Did this medication make you totally immune to the lithium super-Thundrainide?" Ludwig asked Wilykit.

            "No!" laughed Wilykit.  "There was never any medication nor any ailment!  We fooled Eggplant Wizard by my pretending to be suffering ill effects from the Li₂Tu₂He.  Using a trick my cousin Gatito discovered, Quicksilver turned the Li₂Tu₂He in these blasted collars. . ."  She broke hers off with almost no physical effort.  ". . .to Thundrainium, harmless gas, and metal!"

            "OH, CONFOUND IT!!!" cried MotherBrain, Ludwig, and Larry.

            Larry said, "Get down here, you idiot!"

            "Who, me?" asked Eggplant Wizard.

            MotherBrain grabbed him by the neck and tossed him toward Larry.  "Yes, you!" she said.

            Popping out veggies all during his flight, Eggie landed on his chest in front of Larry.  "How could you let Wilykit fool you like this?" asked Larry.

            "I thought she was dying!" Eggplant Wizard cried.  "I know you'd be ticked off if they died!"

            Wilykit said, "I always wonder why you keep such foolish lackeys, Ludwig, if you wish to control the N-Team."

            "It's a bloody villain thing!" said Ludwig.  "A villain needs some bungling fool around.  Just ask S-s-slithe or my father."

            "Aren't you Thunderians against lying?" asked Larry.

            "Of course, but we're not above using a little chicanery," said Wilykit.  "In our case, it was acceptable, for we were imprisoned."

            "Tell me," said Ludwig.  "Has Beethoven told you I sent six pairs of Thunderians to the unknown galaxy?"

            "Yes.  Why?"

            "I plan to send the older members of all Thunderian twin pairs there, effectively halving your population!"

            "Just try."

            Ludwig tried.  "My powers!  What. . ."  His eyes widened.  "Oh, no."

            "Yes.  I've locked them away where you'll not find them."

            "No, no, no!!" screamed Ludwig.

            MotherBrain said, "Ludwig, I warned you against keeping your powers all bunched up in one place while not using 'em!  Look what can happen."

            The warning came too late for Wesley; MotherBrain had already penetrated his mind and dispersed his powers, then escaped.  "Hey!" said Wesley.  "What was that, MotherBrain?  AAAAH!!!"  MotherBrain had sent his powers flowing like a torrential flood through his brain, damaging it and doing him great harm.  Unconscious, Wesley fell to the ground.

            "Wesley!" cried Wilykit.  "What have you done to him, MotherBrain?"

            "He made the same mistake Ludwig had," MotherBrain said.  "However, while you easily ripped out my stepson's powers, I effortlessly dispersed your Amoro Eternamente's powers, sending them uncontrollably through his mind like a terrible flood.  They'll destroy him.  Had he been smart like you and me. . ."

            "Why, you!  WILYKAT, ZAN, AND JAYNA, PLEASE GET DOWN HERE QUICKLY!!!"  The three were at her side in seconds.  "We must save him!  You three get his powers under control.  I'll take care of his mind."

            "Sure," said Wilykat.

            "Certainly, Wilykit," Zan said.

            The three began carrying out Wilykit's request.  "He's quite lucky," said MotherBrain.  "Lucky he has someone as determined as you, I mean.  You shall not complete your valiant attempt yourself. . . for I now carry out Ludwig's plot!!"  Screaming with evil laughter, she sent Wilykit, Gatito, Chatonne, Guillaume, Natalia, Élisabeth, and all the other older members of Thunderian twin pairs to the unknown galaxy in a flash.

            Kevin jumped over to MotherBrain, enraged.  He was as fiercely loyal to his leader as Antonio was, maybe even more so.  "What have you done?" Kevin demanded.

            "Exactly what Ludwig was planning to do," said MotherBrain.

            Wilykat said, "Ha!  We've got his powers under control.  Now, instead of my sister, I will just. . ."  He repaired the damaged areas of Wesley's mind with greater ease than could be imagined.  "Tah-dah!  Wesley lives again!"

            Wesley gained consciousness and easily returned to a standing position.  "Oh, thanks, Wilykat.  Thanks to you, I know what the brain just did to Wilykit."  He turned to MotherBrain.  "Well, MotherBrain?  Bring them back, or I will."

            "Good luck trying," said MotherBrain.  "Wilykit and the others are locked in that galaxy by my power.  This time, you won't be able to save her, Wilykat, as you and she let Wesley come back.  You needn't waste time trying to shove my hand aside."

            "Oh, no?" Wilykat said.  "Kevin, brace yourself."  Kevin felt something, but he did not immediately recognise what it was.  Then. . .

            "Aah!" cried MotherBrain.  "It cannot be!  How did you?"

            "Bouncing my powers between Kevin and me gave them the momentum needed to 'shove your hand aside,' as you put it.  Get this!"  He clapped his hands and brought back everyone whom MotherBrain had just sent off.

            "Wilykat!" said Wilykit, relieved.  "-Sigh.-"

            MotherBrain said, "You guys are always so bright."

            "I have a suggestion," Kevin said.  "Instead of this pointless stand-off, why not hold a universal election?  The Brain-Team versus the N-Team.  The winner gains the responsibility for ruling the universe."

            "Great idea, Captain N," said MotherBrain frankly.  "Who votes?"

            "Every sentient being in the universe would have the permission to vote."

            "Not bad."

            Wilykit agreed, "Sounds good, Kevin.  Now, how do we keep people from cheating?"

            "I'll take care of that," Kevin said.

            MotherBrain asked, "And when do you propose to hold the election itself?"

            "In November 2996."

            "What's the alternative?"

            Wilykit said, "You get forcibly removed, you and your stepson.  I'm not letting evil stay in power unless the people vote for it."

            "Fine.  I trust Captain N's honesty; therefore, if you'd like, it's all right by me if he's put in charge of the election."

            "I agree."

            "Thank you," said Kevin.  "Why don't we agree on a temporary ruler to rule until the elected ruler comes to power in January 2997?"

            "Ninety-seven?" asked MotherBrain, not understanding.  "I thought he election would be in November 2996."

            "Yeah.  It's just an old American system; election in November of a year whose number is a multiple of four, then the electee enters office the following January."

            "Oh.  All right.  Wilykit, I'll let you select who will be the temporary ruler."

            "Very well," said Wilykit.  "Princess Lana."

            "Perfect.  Oh!  If we win, Ludwig gets his powers back."

            "Very well."

            "Before we bad guys return to Metroid, I advise you not to forget Link.  You know, the lethal dreams?"

            "Mm-hm.  We know, all right.  Good-bye."

            "See you, Wilykit." The entire Brain-Team transported to Metroid.

            Jean-Léonard stood.  "Our program is complete now.  Just out of curiosity, how many of you plan to vote for the Brain-Team?"  Loud boos and hisses resounded.  "What about the N-Team?"  Great cheers sounded throughout the stadium.  "Who supports Princess Lana's temporary reign?"  A repeat of the cheers.  "Great!  Now, that's all.  Good evening."

            * * *

            Dining Room, Palace of Power, VideoLand.

            The entire N-Team was dining in the enormous dining room in the palace.  Lana said, "Well, Kevin, that election will pretty much be sealed."

            "Oh, the brain's going to pull some trick," said Kevin.  "It's in the bag if she plays fair, but I would never trust her, not even for a second."

            Wilykit said, "Same here.  Why would she agree to this unless she plans to double-cross us big-time?  And we still have to worry about Link."

            "Well, I've listened to the 'cello sections of those two concerti and read the book My Strange Dream on Koholint Island," Link said.  "I even repeated some of the main themes on the piano.  I discovered that every single phrase of music is really built from only one base motive.  The motive is developed in too many ways for me to count.  It'll come to me if I fall into that dream."

            "I sure hope so.  If we're to succeed, we'll probably need everyone on the entire team.  Wilykat and I have talked about going to school for five straight semesters at least, beginning this May."

            Wesley said, "That's good."

            "Your schedule will be more demanding than ours was," said Antonio, "but, from my perception of your learning capacity, I judge that you'll do excellently."

            Wilykit said, "Thank you, Antonio."

            Dr. Beverly Picard said, "Well, Zelda, if Link doesn't wake up tomorrow, call me.  I'll bring over some medical equipment so we can monitor him."

            "Sure, Beverly," Zelda said.

            "In the meantime," said Quicksilver, "I'll take care of his basic metabolic functions. . . make sure he gets enough food and water to survive, stuff like that."

            "Certainly," said Zelda.

            * * *

            Link's Bedroom, Castle of Hyrule, Kingdom of Hyrule, Planet Hyrule, VideoLand.

            Link was reading more of My Strange Dream on Koholint Island, wondering what sort of music drama it would make.  He decided he could later write a libretto, sketch some leading motives, and take libretto and motives over to Beethoven, Kevin, and the Tygra-twins so they could help him set the libretto to appropriate music and create a music drama.

            A knock sounded on the door.  "Come in," said Link.  Zelda opened the door and entered.  "Hi, Zelda."  He shut the book and laid it on his nightstand.

            "Hi, Link," said Zelda.  "I'm glad you're still awake; I need a companion to talk with."

            "Okay."

            "Actually. . . Link, do you want a son or daughter?  Because if you die, you'll never have any offspring."

            "Well, do you want one?"

            "Yes, Link, and I can conceive tonight.  I can give you something to make sure enough sperm come that one can reach my egg."  Neither knew this something would guarantee identical boy-girl twins.  This substance was of Thunderian manufacture.

            "Sure."

            Zelda got an injector from her pocket and injected the substance into Link's left arm.  "There," she said.  "Want to come to my room, my dear?"

            "Sure, Zelda."

            * * *

            Living Room, casa di Tygra, New Thundera, Milky Way Galaxy.

            Wilykat had shown his visitor, Jayna, to a seat.  He sat down across from her.  "So, Jayna, are you here for a particular reason?" Wilykat asked.

            "Tygrana," said Jayna.  "Now, I hear her voice, her part of my being, with great clarity.  She wishes to speak with you.  Do you want to talk with her directly?"

            "Sure!  Can you do this, Jayna?"

            "Yes, Wilykat."  She transformed her body to. . .

            "Ty-tygrana?"

            Tygrana smiled back at him.  She bore quite a bit of resemblance to Tygra, except she was more slender.  She still had Jayna's outfit on.  "Wilykat.  After all this time, you still look as great as you did the day I first saw you.  I can't see you through Jayna's eyes, unfortunately.  Really, she and I are the same; we're just of different species."

            "Well, you definitely look much better than when I saw you last."

            "I was in unbearable pain when I saw you last.  But tell me, Wilykat; do you love the Thunderian side of me more or the Exorian side?"

            "I can't answer that.  Love is beyond the boundary of species.  If Tygrana and Jayna are the same being, then I love the two equally."

            Tygrana smiled affectionately.  "That's what both sides wanted to hear, Wilykat.  Zan has Tygraguillermo {tahy-grah-gé-lyehr-mó} in him."  The smile disappeared without her control.

            "Your twin."

            "Who died before I."

            "Why didn't you and I recognise our relationship?"

            "Perhaps we were too young, Wilykat."

            "Blast that KCN disease!  Kept us from realising our bond."

            "It also gave the Exorians two saviours, Wilykat," mentioned Tygrana.

            "Eh, yeah.  Me and my selfish thoughts."

            "Don't worry.  I'd've thought it, too."

            "How permanent is this?  I've really missed you, Tygrana."

            "As permanent as you want, 'Kat.  Jayna's discussed this with Zan and I with Tygraguillermo."  She smiled.  "Kind of like satisfying both sides, eh?  You can love Jayna and me in the same ways."

            "Even reproductively?"

            "Yes.  You can make love to her or me.  We're the same person, remember?"

            "So it will be monogamous?"

            "Yes, Wilykat."

            "Oh, boy.  I'd talk to Wilykit, but she's busy."

            "Oh?"

            "With Wesley."

            "Ah."

            During the conversation, their heads had gotten closer and closer.  Now, their foreheads were touching and rubbing.  To Thunderians, foreheads touching was a genuine symbol of affection, especially when rubbing the foreheads together.  "I'm glad you came back to me," said Wilykat.

            "You sweet guy," Tygrana said.  "I'd do a lot for you; you've always been so kind and sweet to me."

            "Amore Eternamente, both Tygrana and Jayna, who are the same person," said Wilykat.

            "Amore Eternamente.  I have to return to my Exorian body, Wilykat.  We want to make a crystal-clear explanation to your dear sister."

            "Yeah."  They kissed briefly; then, Tygrana switched back to Jayna.

            Jayna smiled.  "Wilykat, you're so sweet."

            "Thank you.  I try."

            "When will they be done?"

            "Well,. . ."

            Wilykit and Wesley, each in a robe, came downstairs quickly and excitedly.  "Hi, Jayna," said Wilykit.  "Well, Wilykat, we did it, Wes and I!"

            "What?" asked Wilykat, as if he did not know.

            "We just conceived twins. . . identical boy-girl twins," Wesley said. "My power gave the sperm the ability to cause that."

            "I see," Wilykat said.  "Well, Jayna and I also have something to talk about."