At the little museum in the west wall of Beethoven, he was astonished to see that they were almost the only people in the audience, aside from the musicians not playing, who sat in the front rows to listen. The facility had an empty main room that would have held a few thousand people, but happily this concert was in a side hall with just a couple hundred seats, arced around a small stage in Greek theater style. Acoustics were excellent.

The wind ensemble, slightly outnumbering its audience, rollicked its way through the finale of the Appassionatain a way that made it one of the greatest wind pieces Wahram had ever heard, fast to the point of effervescence. The transcription to winds made it a new thing in the same way that Ravel had made Mussorgsky’s Pictures at an Exhibitiona new thing.

When they were done, two pianists got up, and sitting at grand pianos snuggled into each other like two sleeping cats, they played Beethoven’s own opus 134, his transcription of his Grosse Fugue. They had to pound away like percussionists, simply hammering the keys. More clearly than ever Wahram heard the intricate weave of the big fugue, also the crazy energy of the thing, the maniacal vision of a crushing clockwork. The sharp attack of struck piano keys gave the piece a clarity and violence that strings with the best will and technique in the world could not achieve. Wonderful.

Then some other transcriber had gone in the opposition direction, arranging the Hammerklaviersonata for string quartet. Here, even though four instruments were now playing a piece written for one, it was still a challenge to convey the Hammerklavier’s intensity. Broken out among two violins, viola, and cello, it all unpacked beautifully: the magnificent anger of the first movement; the aching beauty of the slow movement, one of Beethoven’s finest; and then the finale, another big fugue. It all sounded very like the late quartets to Wahram’s ear—thus a new late quartet, by God! It was tremendous to hear. Wahram glanced around at the audience and saw the wind players and the pianists were standing on their feet behind the chairs, bouncing, swaying in place, faces uplifted and eyes closed, as if in prayer; hands sometimes spastically waving before them, as if conducting or dancing. Swan too was back there dancing, looking transported. Wahram was very pleased to see that; he was out there himself in the space of Beethoven, a very great space indeed. It would have been shocking to see someone immune to it; it would have put her outside his zone of sympathy or comprehension.

Afterward, as an encore, the musicians announced they wanted to try an experiment. They separated the two pianos, and the string quartet then sat between them, in a circle facing inward; then they reprised the two big fugues, all playing at the same time. The two pieces overlapped with the wrong instruments applied to each, increasing the cognitive confusion; and the quiet parts in each came at the same time, in an urgent eye of the storm, revealing the structural similarity of the two monsters. When both returned to their main fugues, the six instruments sawed or pounded away in their own worlds, lashing out six different tunes in a crisscross fury, with Messiaenic crashes. They ended together somehow. Wahram wasn’t certain which of them had been extended or curtailed to make that happen, but in any case they finished together with a big crash, and everyone there, already on their feet, could only clap and cheer and whistle.

“Wonderful,” Wahram said afterward. “Truly.”

Swan shook her head. “Too crazy at the end, but I liked it.”

They stayed around to join the congratulations and the discussion among the musicians, who were as interested as could be in what it had sounded like from the outside; more than one said they had been able to focus only on their own parts. Someone played back a recording made of it, and they listened along with the rest, until the musicians began to pause the recording and discuss details.

“Time to get back to Terminator,” Swan said.

“All right. Thanks ever so much for this, it was very fine.”

“My pleasure. Listen, do you want to walk back over to the city tracks? It’s nice after a wild concert like this one. They’ve got suits here we can use. It gives you a chance to walk it out a little.”

“But—do we have time?”

“Oh yes. We’ll get to the platform well ahead of the city. I’ve done this before.”

She must not have noticed his discomfort at being out on the surface of Mercury. Well, so he had to agree. Even though every other member of the audience, and the musicians too, took the tram back. On which they were almost certainly continuing the interesting discussion of the concert, of transpositions in Beethoven, and so on.

But no. A walk on a burned world. When their borrowed spacesuits had confirmed integrity, they exited the hall’s air lock and headed back north toward Terminator’s tracks.

Beethoven Crater had as smooth a surface as he had seen on Mercury. Little Bello was under the horizon to the east. Wahram walked along nervously. Their headlamps illuminated long ellipses of black desert. Fines lofted from the fronts of their boots and drifted back to the baked ground behind them. Their boot prints would last for a billion years, but they were on a track of prints, and the damage to the surface had long since been done. Flanking the dusty trail, the knobby granulated rock caught their headlamps’ beams and reflected them in little diamond pricks of light that looked like frost, though they must have been minute crystal surfaces. They passed a rock with a Kokopelli painted on it; the figure appeared to be holding a telescope rather than a flute and was pointing the glass to the east. For a while Wahram whistled the theme of the Grosse Fugue, half speed, under his breath.

“Do you whistle?” Swan asked, sounding surprised.

“I suppose I do.”

“So do I!”

Wahram, who did not think of himself as someone who whistled for others, did not continue.

They topped a small rise, and before them lay Terminator’s tracks. No city in sight yet; one had to assume it was still over the horizon to the east. The nearest track blocked the view of most of those paralleling it on its other side. It was made of a particular kind of tempered steel, he had heard, and gleamed a dull silver in the starlight. Its underside stood a few meters above the ground, and the thick pylons supporting it were set every fifty meters or so. A loading platform abutted the outer track to the northwest of them, he was happy to see. The tram from the concert was already there.

Sunlight pricked a high point on the west wall of Beethoven. Everything in the landscape was lit by that burnished cliff edge. Dawn was on its way, slow but sure. When it came over the eastern horizon Terminator would make a grand sight. Possibly that was the dome of the globe, already visible as a curved glint.

A stupendous flash of light blazed up from the tracks where the loading platform had been. A bloodred afterimage split his vision in two halves; as it was pulsing back to a less vivid vertical blob, rocks began crashing down around them, kicking up puffs of dust that moved like splashed water. They both cried out, although Wahram had no idea what either said; then Swan was crying, “Get down, guard your head!” and tugging at his arm. Wahram kneeled next to her and put an arm around her shoulders; she seemed to be trying to put her arms over his helmet while ducking hers against his chest. Looking over her, he saw that the tracks where the platform had been had disappeared in a big ball of dust, and the very top of the dust cloud was now high enough to be up in the sunlight. The brilliant yellow of the sunlit part of the cloud illuminated the land around it like a beacon of fire. The land at the foot of the cloud was glowing with a light of its own; it appeared to be a pool of smoking lava.