“That exploded theory is taught in the primary schools as a scientific curiosity,” Acquilla responded crushingly. But after a glance at the irritation which must have been evident on my face, she said, with that new solicitude her voice took on when she spoke to me. “However, Bogardus, we would be most ungenerous if we devoted the evening to an attack on the civilization of our guest. You have a treat before you, Carrilla has promised to give us the great Stars Symphony by Fliederfeldt, the famous composer of the twenty first century!” The thought that came to me instantly was that my ears were now about to be assailed by a cacophony of strident noises along the lines of that modern school which in my day had gone over to the rhythm of locomotives and trip hammers. “The orchestron was not known to you,” said Acquilla, motioning me to a seat on the couch beside her. “I think you have a surprise waiting for you.” Carrilla who had been unusually silent, gazing at me with that entranced concentration I was learning to expect, allowed herself to be persuaded after the manner of all great artists, before going to a large instrument which resembled more an organ than a piano. At the first bars, I exclaimed in surprise: “But it’s impossible! She is not playing herself. It is the record of a great symphony orchestra!” “It is an orchestra, true,” said Dulcina, gratified by my astonishment, “but it is played by a single performer.” I rose and approached the instrument incredulously. “Forgive me this interruption, my dear Carrilla,” I said, “but before you begin, explain to me how it is possible for you to produce on a keyboard, not only the sounds of wind instruments which our organs did imitate, but the clear and definite notes of violins and cellos.” “After all, it is quite simple,” Carrilla said, indicating to me an elaborate keyboard. “If anyone had thought of it in your day, I’m sure they would have invented it. There is but one gamut and all the orchestron does is to reproduce the notes of all instruments. You see, here are the strings and these delicately adjusted instruments are the bows. As for the flutes and the horns, if a human mouth can blow into them, surely a mechanical device can do so.” “It is wonderfully designed,” I said, staring into the intricate mechanism, “but how are you able to control these multiple instruments under one direction, particularly when one part of your orchestra is playing one theme against another?”