Actions

Work Header

Through the Very Cerebrum of Every Musician in the Pit (1910)

Summary:

December 1, 1910, Royal Palace Hotel, Budapest, Kingdom of Hungary: 

Franz watches Chouchou while their dads are conducting their respective orchestral works at the hotel's festival.

Notes:

Claude is (48; b. Aug. 22, 1862 in Saint-Germain-en-Laye, France)
Richard is (46; b. Jun. 11, 1864 in Munich, Germany)

They have been married since May 1897; they have two children (a son and a daughter): Franz (13; b. Nov. 1, 1897) and Chouchou (5; b. Oct. 30, 1905) Debussy-Strauss.

Sorry for backdating. Was in hospital from 10-15. Am now in rehabilitation clinic, fun stuff. I have a walker & a broken toilet.
(/▽\)

Work Text:

"The baton is a weapon, provided you know where to aim it," Claude whispers into Richard’s ear, his voice a low, gravelly vibration that scrapes against the sensitive skin of Richard’s neck.

 

They stand in the wings of the Royal Palace Hotel’s grand ballroom in Budapest, the air thick with the scent of beeswax, expensive cigars, and the electric ozone of anticipation. The atmosphere is a suffocating blanket of velvet and gold. Claude’s hand doesn't just touch Richard; it claims him. His fingers, calloused from decades of obsessive piano work, dig into the meat of Richard’s shoulder, pulling him flush against a chest that heaves with a rhythmic, predatory intensity.

 

There's a raw heat radiating between them, a friction born of shared genius and a marriage that functions like a perpetual symphony of conflict and desire. Claude is the master of the atmospheric, the pupil of the ethereal, but in this moment, he is simply a man hungry for the grounding weight of his husband.

 

Behind them, the chaos of the festival hums. In a secluded alcove of the backstage area, Franz sits with a stoic, inherited gravity. He is the anchor for Chouchou, who is currently vibrating with a manic energy, her small hands drumming a frantic rhythm on the mahogany side-table. Franz watches his sister with a sharp, observant eye, his expression a mirror of the complex intellect that defines the Debussy-Strauss lineage. He recognizes the tension in the air—the same tension that vibrates through the very cerebrum of every musician in the pit.

 

Claude’s breath is hot, smelling of strong coffee and unfiltered cigarettes, as he presses his forehead against Richard’s. The power dynamic shifts like a tide; Richard, usually the pillar of Teutonic structure, melts into the fluid, French chaos of Claude’s embrace. Their bodies are locked in a desperate, silent communication, a physical dialogue of dominance and surrender that transcends the music they are about to conduct.

 

They are two titans of sound, bound by a love that feels like a fever, waiting for the curtain to rise so they can translate this visceral heat into gold.