Ingrid's Dark Secret Passion Ch. 25

During her deliberations this time, Ingrid decided that she had to turn her previous thoughtless declaration into an undeniable reality. For her abstract statement to become true, there would have to be preserved a record of the intensity of their love that would transcend the ravages of subsequent time. In this regard she was inspired to compose music primarily for the piano, but she also scored it as a piano and violin sonata.

Ingrid titled this music: "An Ode To A Secret Passion". She used as a model inspiration, three distinct disparate pieces of music, that in combination would truly reflect the full agony and the ecstasy of her passion for her Austrian lover. She adapted each theme and by variation of the original music, reworked it to her own style adding suitable nuances to produce the desired musical statement.

The first piece of music that she selected to incorporate as the first movement of her composition was Liszt's Hungarian piano Rhapsody No 5. This music had been a favorite with Ingrid even before she became sexually active. As she matured, she recognized that her affinity for this music stemmed from an innate subconscious premonition for her dalliance into BDSM sex. The heavy theme of Liszt's music mirror matched the serious discipline required to endure BDSM punishment roles. By varying Liszt's music to her own adaption, her music represented her subtle declaration of her acceptance of this type of sexual activity.

The second piece of music she adapted to her composition was a cello version prominently recorded by Jacqueline du Pres of a song composed by Jacques Offenbach titled 'Les Larmes de Jacqueline' (Jacqueline's Tears). Offenbach's melody was beautifully poignant, and Ingrid's adaption brought forth fully the two competing emotions of the nature of her entire love affair with Sieglinde. There was the beautiful melody that represented the unbridled joy Ingrid experienced in her love. The sadness of the melody underlined the ever present understanding that the love affair could not last.

The third piece of music that Ingrid incorporated into her composition, was the aria known as Dido's Lament from Henry Purcell's Opera, Dido and Aeneas. Ingrid absolutely could relate to that sad aria which articulated Dido's despair in losing forever her lover Aeneas, as the latter was destined to travel to Italy to establish the founding of Rome. Ironically, the metaphor of comparing her love affair to the mythical love between Dido and Aeneas was not exact, though. Ingrid obviously identified herself as Aeneas, with Sieglinde representing Dido. However, unlike the mythical love affair, it was Sieglinde who forced the separation in order for Ingrid to fulfill her destiny. And Ingrid, unlike her counterpart Aeneas, who had no regrets in ending his affair with Dido, sure as hell deeply regretted the end of her affair with her Austrian lover.

Ingrid composed her music in two forms: one as a solo piano piece; and the other as a duo for piano and violin. Each piece had a playing time of about a half hour. Consequently, she was able to record both pieces in one CD disc for DGG. Naturally her violin accompanist was Natasha Starikovich. To ensure a solid performance, prior to the recording session, Ingrid outlined to Natasha, the inspiration and the scope of her composition.

Not surprisingly, Natasha referred to the circumstances of the recording of her own initial CD disc which truly launched her own successful career. After the first recording session, which proved to be something of a disaster and totally unsatisfactory, she made love to her accompanist, i.e. Lajos Kiraly, right at the recording studio. After that sexual tryst the subsequent finished product turned out to be a phenomenal success. So Natasha suggested that before recording 'An Ode To A Secret Passion' they ought to replicate that action, and so make love. After all she pointed out that the girl-on-girl sex they indulged in the morning before the White House recital worked like a charm.

Of course neither example had circumstances similar to her composition, but Ingrid had no objection. Still in addition to their lesbian sex, their threesome sex on the prior evening before the White House recital was certainly exciting and rewarding. Natasha definitely was a beguiling lover whereby any occasion for sex would always be delightful even, a strictly lesbian sex only. The sex with Natasha as far as Ingrid was concerned, certainly did not rival the passion she had enjoyed with Sieglinde. She loved Sieglinde, truly loved her, heart, body and soul. Thus, sex with Natasha could be enjoyable, even very enjoyable, but not passionate nor mindblowing like the sex with Sieglinde. In the same line of thinking, she knew that Natasha did not harbor any serious romantic feelings towards her; hell as far as Ingrid could tell Natasha would not rank her as her quintessential lesbian lover either.

The recording was released before Ingrid had ever performed the piece either solo or with Natasha in public. Thus, without any prior awareness of this music, the critics were taken by surprise at the magnificence of the music. The reviews of the recording were unanimously highly positive. Those reviews ensured substantial sales of the CD. The recording garnered yet an other Grammy award for the Best Contemporary Classical Composition, and thus Ingrid had acquired another gold plated trophy of a cute looking grammophon for her collection.

As a result of the phenomenal sales of her CD, she or whenever she was paired with Natasha performing in a concert engagement were invariably beseeched to include this piece of music in their program. Natasha was miffed by the fact that none of her own recorded compositions attracted that much attention. To mollify her musical partner Ingrid pointed out that Natasha had acquired three of those cute looking gold plated grammophon trophies in that category of original compositions for three different years.

The greatest pleasure Ingrid derived from playing 'An Ode To A Secret Passion' occurred whenever she was in Vienna staying alone in her designated Siggy's Lair. Each time she played the piece, she removed the painting of 'Eine Nackte Sieglinde' from the walls of the master bedroom to mount it on an easel flanking a side of the grand Steinway piano. This enabled her to gaze fondly at the painting while reminiscing her affair as she was playing her personal composition.

Ingrid was thereby, content in believing that this music properly memorialized her relatively brief, but dark secret passionate affair with Sieglinde Wagner. And hopefully when she and Sieglinde were no longer around, this music would survive. And, maybe this memorial of her intensive love for Sieglinde will still be remnant a thousand years forward.

THE END