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Notturno Veneziano
- Thread starter l'bogo
- Start date
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- Tags
- dark fantasy mystery
l'bogo
Venetian Mask
messaline
Crucified Amazon
Mmmmmm ! What a nice pose !
GabriellaSivilla
Governor
Another small part, many thanks to l'bogo and Eulalia, many apologizes from my part for the delay...
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Other small lamps light up, and from the dim shadows emerges the figure of a girl, dressed, or rather undressed, like the mysterious doll. She is blonde, I realise that she has an extraordinary resemblance to myself, she looks like my twin, or even my clone? I gaze at her in astonishment while she puts down the Rollei TLR she has been using to photograph me. I do not know how many photographs she has taken, I lost count while I was the Countess’s prey. This is certainly her slave. I do not know, at this point, if I have to fear her jealousy, since I have stolen the delights that the Countess is pleased to grant those she desires.
The next two pieces of music are a duet for transverse flute and oboe and a 'Siciliana' for the violin but transposed for oboe and bassoon. Erotic and stimulating, they give me the opportunity to express all my sensuality in the dance movements I am creating for the Countess.
Now she just contemplates me, only towards the end of the second piece does she stop me, on the pretext of suggesting a different passage between one posture and the next, but actually to gently caress around my anal fissure, which at that moment was decidedly, and deliberately, very exposed, but she does not violate the entrance. Then I continue until the end.
'You are very talented! And I appreciate your creative commitment. Now I want a special performance: Baba will participate in the dance, you shall interpret the adagio from Alessandro Marcello’s Concerto in D minor for oboe, strings and basso continuo. I hope you can excel yourself!’
It's a piece I know well, it was used as a soundtrack in ‘Anonymous Venetian’, a film of the' 70s. Strumming with a strongly erotic pulse in the basso continuo that suggests the swaying of the pelvis during an embrace. I try to imagine how to interpret it, but with Baba? Now I know that the Countess's slave is called that.
Baba appears in the half-light, completely naked, she has taken off her long black leather boots, and I take off my dancing shoes. I take her by the hand to the centre of the carpet and without speaking, so as not to break the magic of the silence that precedes the music, as if our movements were a prelude to the music itself, I lay her back on the floor, raising her pelvis so that he can twine my legs with hers. The pose is as if I were a lover who, in the process of being penetrated by the male, am kneeling in the dominant position, our sexes in contact seem to kiss each one another.
The movement of my pelvis, synchronised with the smooth and regular rhythm of the bass, immediately generates a strong tension between Baba's thighs, I feel her quivering against me. Then the oboe creates the magic of the movement of my bust and arms, as if I have become a flame that moves lazily as the swirls of air and melody vary. Now Baba raises her arms to my bosom, stroking my breasts, and I respond by twisting back as if to want to escape. But at the same time I try to reach, from behind me with my hand, her anal cleft, into which I gently introduce the tip of my middle finger. Her mouth opens as if to give a moan of pleasure, but she holds it back. Our voluptuous movements are now perfect. I would like this music to last for ever, to taste the sweetness of our embrace, and in my mind I am dilating time as if every moment were an infinity. Baba is wonderful, she is immediately harnessed to the responses that my movements suggest. The final embrace that unites us as dying bodies concludes the masterpiece.
'I have never been able to taste such pleasure as you have exchanged, you have exceeded all limits, unimaginable before now!'
The Countess’ enthusiasm manifests itself in the embrace and caresses that she lavishes upon us, her kisses on our cheeks and our lips, tears of joy and pleasure streak Baba' s face and mine.
_______________________________________________________________________________________________________________________
Other small lamps light up, and from the dim shadows emerges the figure of a girl, dressed, or rather undressed, like the mysterious doll. She is blonde, I realise that she has an extraordinary resemblance to myself, she looks like my twin, or even my clone? I gaze at her in astonishment while she puts down the Rollei TLR she has been using to photograph me. I do not know how many photographs she has taken, I lost count while I was the Countess’s prey. This is certainly her slave. I do not know, at this point, if I have to fear her jealousy, since I have stolen the delights that the Countess is pleased to grant those she desires.
The next two pieces of music are a duet for transverse flute and oboe and a 'Siciliana' for the violin but transposed for oboe and bassoon. Erotic and stimulating, they give me the opportunity to express all my sensuality in the dance movements I am creating for the Countess.
Now she just contemplates me, only towards the end of the second piece does she stop me, on the pretext of suggesting a different passage between one posture and the next, but actually to gently caress around my anal fissure, which at that moment was decidedly, and deliberately, very exposed, but she does not violate the entrance. Then I continue until the end.
'You are very talented! And I appreciate your creative commitment. Now I want a special performance: Baba will participate in the dance, you shall interpret the adagio from Alessandro Marcello’s Concerto in D minor for oboe, strings and basso continuo. I hope you can excel yourself!’
It's a piece I know well, it was used as a soundtrack in ‘Anonymous Venetian’, a film of the' 70s. Strumming with a strongly erotic pulse in the basso continuo that suggests the swaying of the pelvis during an embrace. I try to imagine how to interpret it, but with Baba? Now I know that the Countess's slave is called that.
Baba appears in the half-light, completely naked, she has taken off her long black leather boots, and I take off my dancing shoes. I take her by the hand to the centre of the carpet and without speaking, so as not to break the magic of the silence that precedes the music, as if our movements were a prelude to the music itself, I lay her back on the floor, raising her pelvis so that he can twine my legs with hers. The pose is as if I were a lover who, in the process of being penetrated by the male, am kneeling in the dominant position, our sexes in contact seem to kiss each one another.
The movement of my pelvis, synchronised with the smooth and regular rhythm of the bass, immediately generates a strong tension between Baba's thighs, I feel her quivering against me. Then the oboe creates the magic of the movement of my bust and arms, as if I have become a flame that moves lazily as the swirls of air and melody vary. Now Baba raises her arms to my bosom, stroking my breasts, and I respond by twisting back as if to want to escape. But at the same time I try to reach, from behind me with my hand, her anal cleft, into which I gently introduce the tip of my middle finger. Her mouth opens as if to give a moan of pleasure, but she holds it back. Our voluptuous movements are now perfect. I would like this music to last for ever, to taste the sweetness of our embrace, and in my mind I am dilating time as if every moment were an infinity. Baba is wonderful, she is immediately harnessed to the responses that my movements suggest. The final embrace that unites us as dying bodies concludes the masterpiece.
'I have never been able to taste such pleasure as you have exchanged, you have exceeded all limits, unimaginable before now!'
The Countess’ enthusiasm manifests itself in the embrace and caresses that she lavishes upon us, her kisses on our cheeks and our lips, tears of joy and pleasure streak Baba' s face and mine.
l'bogo
Venetian Mask
to listen to the song, copy the string into the search box of your browser by clearing the initial and final X
Xhttps://it.wikipedia.org/wiki/File:...sso_continuo_-_secondo_movimento_(Adagio).oggX
Xhttps://it.wikipedia.org/wiki/File:...sso_continuo_-_secondo_movimento_(Adagio).oggX
With lines like these ... the mind goes into overdrive! Exquisitely, excitingly phrased. Bravo Gabriella!
GabriellaSivilla
Governor
Many thanks Barb!
Eulalia and l'bogo did really most of the job, they are excellent writers... 