Cello Master class XTC Nymphette
I have been playing the cello since I was eight, I played violin from 3 until I was 6 years old. I have always loved the sensuous feel of the neck and fingerboard beneath my touch, the beautiful feminine shape and the exquisite wood and craftsmanship of the instrument. I adore the exquisite shape and feel of the curvaceous and elegantly designed wood between my legs. it is as sensuous as any man. The vibrations I feel when I play well, send shivers down my spine and tingles through my body. For many years now I have adopted the habit of playing in the dark to maximise the sensitivity of touch and sound without looking at my fingers. I normally do this before bedtime and so I am either dressed in my nightie or my underwear and sometimes nothing at all. As I have been doing this since I was about 8 I think nothing of it and never imagined it would be remotely sexy, just sensuous. This story is about a time when my sensuous explorations turned to fantasy and then how that fantasy became a reality.
I was working in the summer as a cello tutor at a music camp for girls.
Every year the organisers would arrange for guest conductors and Virtuoso musicians to visit and give master classes. This particular year a sensational cellist from Eastern Europe was the guest. Stanislow was about 34 and ruggedly handsome. Just under six feet tall, dark hair, sad dark eyes and the kind of romantic passion for music that was usually associated with the clichΕ½ of moody European' sensitive artists'.
His approach was interesting, he would play through a piece with great passion and at the end, he would say in his thick accent 'now for the second movement'. What he meant was that he would take important passionate critical moments in the piece and improvise with them until he understood dozens of ways to play the segments more expressively. It seemed to work and I enjoyed his playing as much as I did his master classes. His approach to teaching was equally as wild and uncompromising and with none of the prim political correctness of western society. At times he would come up behind a player and encircle them with his long arms pressing against them, guiding their fingers, wrapping his hand around theirs to demonstrate how he wanted the bow to move. There wasn't a girl in the orchestra amongst the students or the tutors that didn't swoon when he gave a class. When he did this to me one day I felt him press against my back his strong hands guiding mine as he whispered tenderly to me 'We only have control so we can lose it, no?' and together we attacked the phrase wildly. 'You have a beautiful instrument' he said as he moved to the next student ' I would love to play with it again.' I was weak at the knees and I didn't care whether he was referring to my 300 year-old French cello or my 20 year old body, I was more than a bit damp for the rest of the day. I guessed that with only one decent man amongst dozens of women and girls I suspected he was giving more than a few master classes after hours especially judging by the dreamy looks on the faces of some of the prettier tutors at breakfast each morning.
The music camp was on a remote rural property and the students slept in dormitories, whilst the tutors and organisers generally shared quite comfortable cabins. I was quite lucky and had a cabin to myself. Stan's cabin was not far from mine and sometimes at night or in the early morning, I could hear him practicing what he preached and improvising through some complex passages of music with a passionate interpretation. On the night before the end of the camp, some of the organisers and tutors had a party. I didn't feel in the mood for the kind of adolescent fun they were planning and excused myself for an early night. Stan was at the party surrounded by a gaggle of adoring women and girls and I could see that his capacity for drinking vodka was as big as his reputation for music. I bade them all good night and returned to my cabin.
I showered, undressed and slipped into my favourite white silk crop-top and V string panties. I loved wearing them because the soft shiny silk made me feel sexy and as it was a hot night I wanted to wear something cool. I opened my cello case and switched out the light to do some practice. I sat on the bed and played through a piece Stan had focused on in the last class. It was a little known 20th century work but incredibly moving and difficult. As I played, I started to fantasise about him and found myself feeling quite horny. I imagined the neck and fingerboard of the cello was his cock, my fingers danced up and down it lingering on notes with vibrato and sensuously sliding up and down the neck, all the time firmly gripping it as if I was giving the best hand-job on earth. Next, I focused on my bowing as if this was his cock sliding inside me, thrusting hard on the double and triple stops and sensuously through the sweet melodic passages. I found myself hot and horny, the dampness between my thighs increasing as I played. I gripped the cello between my knees and felt the sensuous tingle of the music vibrating through my knees, I was almost going to cum without touching myself, I was on the edge of orgasm and unbelievably hot.