#Mozart be trying to drag him out for parties and gatherings

[hanakihan]

Howl’s moving castle AU with Dantès as Howl, Salieri as Sophia and Jalter Lily as Markl—

[fandom-collective-writers]

Tipsy Prince (Mozart x MC)

Fandom: Ikemen Vampire

Pairing: Mozart x Reader

Prompt: Mulled apple cider, party in the woods

Warning: None!

Intended Audience: Female Audience

Word Count: 1,080

Requested by: anonymous

Written by: @lordsister​/@lordsisterxotome (Click here to support me on ko-fi!<3)

Disclaimer: I do not own Ikemen Vampire or any of its characters. All of that goodness is the property of Cybird. I do, however, own the plot of this fanfic. Please do not repost this on any other website.

Other notes: I know the prompt is mulled apple cider, but I decided to go with gluewhein instead considering Mozart is Austrian and I couldn’t help thinking of my mom’s traditional Bavarian gluewhein that she makes for the holidays. I don’t drink normally, but I have to make an exception when she makes it because it’s soooo good.

       “They’re going to notice!”

       He smiled against her neck, his kisses coaxing against her skin. “No they aren’t.”

       “Yes, they will!!” She tried to keep her tone low, stern, but the corners of her lips turned up helplessly.

       “Not if you stay quiet…” The smooch he placed to her neck was definitely far too loud, rising above her quiet hiss as she tried and failed to duck away from his kiss-needy lips, restrained by the arm around her waist.

       It seemed the other guests hadn’t noticed their absence yet, the gentle murmur of conversation still rising into the cool night air from the trees beyond. As her lover placed another sloppy kiss to her neck, MC shied away from the lanterns’ golden light slanting between the trees, hiding further in the shadows of the tree he had dragged her behind earlier. 

       Mozart had looked at her with curiosity when she’d first presented the invitation to him, sent by the same duke that had housed and supported him before. The jolly older man was holding a party in the forest, something unusual to celebrate the fall season, and of course wanted his favorite musician to play, promising warm gluehwein and good company in return. The idea of having a piano hauled out into the woods seemed curious, but Mozart had seemed intrigued by it enough to accept the invitation.

       Arriving at the party had been dazzling; not as lavish as some of the events she had attended with her boyfriend, but unique in a way that spread homey warmth through her chest. It made her feel at ease in a way being in a ballroom surrounded by aristocrats simply couldn’t measure up to. 

       Set up in a clearing a short ways into the forest, lanterns reminiscent of fairy lights had been strung from the nearly bare tree branches overhead, casting a soft golden light on the tables of food and the instruments that had been set up. Tripods with bowls of fire had been stationed in a ring around the clearing, lending a bit of warmth to the cold October night, and a wooden floor had been placed over the grass, ensuring that the ladies wouldn’t dirty their heels and long skirts. It was obvious someone had put a lot of work into making this idea of a party in the woods into a reality.

       At first, MC had thought Mozart was only acting the way he usually did when they went to social events, the facade of the polite and amiable musician sliding into place, but after a few mugs of gluehwein, it became clear that his smiles and laughter had become much more sincere. His shoulders began to ease, his movements and words becoming more fluid at the expense of his poise, and it wasn’t long before he had a small crowd gathered around him, faces warm and smiling as they listened to him.

       His disposition wasn’t the only thing that softened though. The mix of spiced drinks he fancied had brought about another, more intimate reaction from him, his hands bolder tonight as they pulled her closer and squeezed her tighter. He seemed to forget where they were and who they were with as the evening continued, her hands having to discreetly tug his away from more sensitive areas more than once.

       After a hasty jerk of his hand away from her bottom while she was distracted by another guest, Mozart had whined in her ear, his lips pursed in pout. She’d had to restrain the urge to kiss those perfect, pouting lips as she made an attempt to frown at him, trying to keep her gaze stern. He seemed cowed for about a minute before his efforts to touch her renewed, drawing circles on her hip and sneaking a couple daring nips at her ear when no one was watching.

       He was successful in drawing all of her attention away from the other guests, steadily guiding her towards the edge of the clearing without her notice until they were far enough away that he stole her behind one of the thick, towering oaks. MC’s gasp of his name was abruptly cut off by his lips crashing into hers, teeth clacking for a split second before he regained some of his coordination and began to devour her mouth. Mozart seemed caught between pulling her closer and pushing her harder against the tree trunk, seeking her warmth and solidity as he pressed every inch of himself against her.

       She couldn’t help her quiet gasps and mewls of his name, barely managing to gasp in a few breaths before his lips were on hers again, his tongue snaking past her lips to tangle with her own. 

       They shouldn’t be doing this. Anyone could find them if they walked just past the edge of the clearing.

       “You can’t wait to do this?” she whined as he nipped at her jaw, instinctively tilting her head back when his lips traveled to the soft space on the underside.

       “I don’t want to,” he grunted in reply, his grip on her tightening as he continued, almost childishly, “Want you to look at me.”

       “I was looking at you?” MC couldn’t tell if it was his heart or hers pounding so quickly, he was so close, and as he took her chin to look at her, his thumb tracing the bottom of her lip, a shiver wracked her form, the last of her reluctance disappearing under the weight of the heated look he sent her way. It was then that she realized just how much she’d underestimated a drunk Mozart. Sure, he was more friendly, more open with his expressions, but he was also a whole lot more dangerous, the hazy, wanting gleam in his eye breaking down all of her inhibitions if she looked too long. 

       Anything he wanted, she would give him, without a second thought. 

       “Look only at me.”

       Just like that, Mozart felt her give in to him, purring in satisfaction when she pressed closer, held him closer, in equal measure. The rest of the party was forgotten, the duke and the lights and the piano standing strangely in the middle of the woods all distant memories.

       His breath warmed her lips, the smell of gluehwein washing over her, and then the taste of the spiced wine was on her tongue, cinnamon and orange and rich red wine giving her tipsy prince a taste like ambrosia as she melted against him.

[blackkudos]

Mary Lou Williams

Mary Lou Williams (born Mary Elfrieda Scruggs; May 8, 1910 – May 28, 1981) was an American jazz pianist, arranger, and composer. She wrote hundreds of compositions and arrangements and recorded more than one hundred records (in 78, 45, and LP versions). Williams wrote and arranged for Duke Ellington and Benny Goodman, and she was friend, mentor, and teacher to Thelonious Monk, Charlie Parker, Miles Davis, Tadd Dameron, Bud Powell, and Dizzy Gillespie.

Early years

The second of eleven children, Williams was born in Atlanta, Georgia, and grew up in the East Liberty neighborhood of Pittsburgh, Pennsylvania. A young musical prodigy, at the age of three, she taught herself to play the piano. Mary Lou Williams played piano out of necessity at a very young age; her white neighbors were throwing bricks into her house until Williams began playing the piano in their homes. At the age of six, she supported her ten half-brothers and sisters by playing at parties. She began performing publicly at the age of seven when she became known admiringly in Pittsburgh as "The Little Piano Girl." She became a professional musician at the age of 15, citing Lovie Austin as her greatest influence. She married jazz saxophonist John Williams in November 1926.

Career

In 1922, at the age of 12, she went on the Orpheum Circuit. During the following year she played with Duke Ellington and his early small band, the Washingtonians. One morning at three o'clock, she was playing with McKinney's Cotton Pickers at Harlem's Rhythm Club. Louis Armstrong entered the room and paused to listen to her. Williams shyly told what happened: "Louis picked me up and kissed me."

In 1927, Williams married saxophonist John Overton Williams. She met him at a performance in Cleveland where he was leading his group, the Syncopators, and moved with him to Memphis, Tennessee. He assembled a band in Memphis, which included Williams on piano. In 1929, 19-year-old Williams assumed leadership of the Memphis band when her husband accepted an invitation to join Andy Kirk's band in Oklahoma City. Williams joined her husband in Oklahoma City but did not play with the band. The group, Andy Kirk's Twelve Clouds of Joy, moved to Tulsa, Oklahoma, where Williams, when she wasn't working as a musician, was employed transporting bodies for an undertaker. When the Clouds of Joy accepted a longstanding engagement in Kansas City, Missouri, Williams joined her husband and began sitting in with the band, as well as serving as its arranger and composer. She provided Kirk with such songs as "Walkin' and Swingin'", "Twinklin'", "Cloudy'", and "Little Joe from Chicago".

Williams was the arranger and pianist for recordings in Kansas City (1929) Chicago (1930), and New York City (1930). During a trip to Chicago, she recorded "Drag 'Em" and "Night Life" as piano solos. She used the name "Mary Lou" at the suggestion of Jack Kapp at Brunswick Records. The records sold briskly, raising Williams to national prominence. Soon after the recording session she became Kirk's permanent second pianist, playing solo gigs and working as a freelance arranger for Earl Hines, Benny Goodman, and Tommy Dorsey. In 1937, she produced In the Groove (Brunswick), a collaboration with Dick Wilson, and Benny Goodman asked her to write a blues song for his band. The result was "Roll 'Em", a boogie-woogie piece based on the blues, which followed her successful "Camel Hop", named for Goodman's radio show sponsor, Camel cigarettes. Goodman tried to put Williams under contract to write for him exclusively, but she refused, preferring to freelance instead.

In 1942, Williams, who had divorced her husband, left the Twelve Clouds of Joy, returning again to Pittsburgh. She was joined there by bandmate Harold "Shorty" Baker, with whom she formed a six-piece ensemble that included Art Blakey on drums. After an engagement in Cleveland, Baker left to join Duke Ellington's orchestra. Williams joined the band in New York City, then traveled to Baltimore, where she and Baker were married. She traveled with Ellington and arranged several tunes for him, including "Trumpet No End" (1946), her version of "Blue Skies" by Irving Berlin. She also sold Ellington on performing "Walkin' and Swingin'". Within a year she had left Baker and the group and returned to New York.

Williams accepted a job at the Café Society Downtown, started a weekly radio show called Mary Lou Williams's Piano Workshop on WNEW and began mentoring and collaborating with younger bebop musicians such as Dizzy Gillespie and Thelonious Monk. In 1945, she composed the bebop hit "In the Land of Oo-Bla-Dee" for Gillespie. "During this period Monk and the kids would come to my apartment every morning around four or pick me up at the Café after I'd finished my last show, and we'd play and swap ideas until noon or later", Williams recalled in Melody Maker.

In 1945, she composed the classically-influenced Zodiac Suite, in which each of the twelve parts corresponded to a sign of the zodiac, and were accordingly dedicated to several of her musical colleagues, including Billie Holiday, and Art Tatum. She recorded the suite with Jack Parker and Al Lucas and performed it December 31, 1945 at Town Hall in New York City with an orchestra and tenor saxophonist Ben Webster.

In 1952, Williams accepted an offer to perform in England and ended up staying in Europe for two years. By this time, music had taken over her life, and not in a good way; Williams was mentally and physically drained. When she returned to the United States she took a hiatus from performing, converting in 1956 to Catholicism. This three-year hiatus began when she suddenly backed away from the piano during a performance in Paris in 1954. Her energies were devoted mainly to the Bel Canto Foundation, an effort she initiated to help addicted musicians return to performing. In addition to spending several hours in mass, Williams used her savings as well as help from friends to turn her apartment in Hamilton Heights into a halfway house for the poor as well as musicians who were grappling with addiction; she also made money over a longer period of time for the halfway house by way of a thrift store in Harlem. Her hiatus may have been triggered by the death of her long-time friend and student Charlie Parker in 1955 who also struggled with addiction for the majority of his life. Father John Crowley and Father Anthony aided in persuading Williams to go back to playing music. They told her that she could continue to serve God and the Catholic Church by utilizing her exceptional gift of creating music. Moreover, Dizzy Gillespie convinced her to return to playing, which she did at the 1957 Newport Jazz Festival with Dizzy's band. One can notice a significant difference in her works after her hiatus through her willingness to take more risks with her music as well as her renewed outlook as a proponent of jazz and its legacy.

Father Peter O'Brien, a Catholic priest, became her close friend and manager in the 1960s. They found new venues for jazz performance at a time when no more than two clubs in Manhattan offered jazz full-time. In addition to club work, she played colleges, formed her own record label and publishing companies, founded the Pittsburgh Jazz Festival, and made television appearances. Throughout the 1960s, her composing concentrated on sacred music, hymns, and masses. One of the masses, Music for Peace, was choreographed by the Alvin Ailey and performed by the Alvin Ailey Dance Theater as Mary Lou's Mass in 1971. About the work, Ailey commented, "If there can be a Bernstein Mass, a Mozart Mass, a Bach Mass, why can't there be Mary Lou's Mass?" Williams performed the revision of Mary Lou's Mass, her most acclaimed work, on The Dick Cavett Show in 1971.

Following her hiatus, her first piece was a mass that she wrote and performed was named Black Christ of the Andes (1963), a hymn in honor of the Peruvian saint St. Martin de Porres; two short works, Anima Christi and Praise the Lord. Williams put much effort into working with youth choirs to perform her works, including "Mary Lou's Mass" at St. Patrick's Cathedral in New York City in April 1975 before a gathering of over three thousand. It marked the first time a jazz musician had played at the church. She set up a charitable organization and opened thrift stores in Harlem, directing the proceeds, along with ten percent of her own earnings, to musicians in need. As a 1964 Time article explained, "Mary Lou thinks of herself as a 'soul' player — a way of saying that she never strays far from melody and the blues, but deals sparingly in gospel harmony and rhythm. 'I am praying through my fingers when I play,' she says.'I get that good "soul sound", and I try to touch people's spirits.'" She performed at the Monterey Jazz Festival in 1965, with a jazz festival group.

Throughout the 1970s, her career flourished, including numerous albums, including as solo pianist and commentator on the recorded The History of Jazz. She returned to the Monterey Jazz Festival in 1971. She could also be seen playing nightly in Greenwich Village at The Cookery, a new club run by her old boss from her Café Society days, Barney Josephson. That engagement too, was recorded.

She had a two-piano performance with avant-garde pianist Cecil Taylor at Carnegie Hall on April 17, 1977. Despite onstage tensions between Williams and Taylor, their performance was released on an live album titled Embraced.

Williams instructed school children on jazz. She then accepted an appointment at Duke University as artist-in-residence (from 1977 to 1981), teaching the History of Jazz with Father O'Brien and directing the Duke Jazz Ensemble. With a light teaching schedule, she also did many concert and festival appearances, conducted clinics with youth, and in 1978 performed at the White House for President Jimmy Carter and his guests. She participated in Benny Goodman's 40th-anniversary Carnegie Hall concert in 1978.

Later years

Her final recording, Solo Recital (Montreux Jazz Festival, 1978), three years before her death, had a medley encompassing spirituals, ragtime, blues and swing. Other highlights include Williams's reworkings of "Tea for Two", "Honeysuckle Rose", and her two compositions "Little Joe from Chicago", and "What's Your Story Morning Glory". Other tracks include "Medley: The Lord Is Heavy", "Old Fashion Blues", "Over the Rainbow", "Offertory Meditation", "Concerto Alone at Montreux", and "The Man I Love".

In 1981, Mary Lou Williams died of bladder cancer in Durham, North Carolina at the age of 71. Dizzy Gillespie, Benny Goodman, and Andy Kirk attended her funeral at the Church of St. Ignatius Loyola. She was buried in the Calvary Catholic Cemetery in Pittsburgh. Looking back at the end of her life, Mary Lou Williams said, "I did it, didn't I? Through muck and mud." She was known as "the first lady of the jazz keyboard". Williams was one of the first women to be successful in jazz.

Awards and honors

Guggenheim Fellowships, 1972 and 1977.

Nominee 1971 Grammy Awards, Best Jazz Performance – Group, for the album Giants, Dizzy Gillespie, Bobby Hackett, Mary Lou Williams

Honorary degree from Fordham University in New York in 1973

In 1980 Williams founded the Mary Lou Williams Foundation

Honorary degree from Rockhurst College in Kansas City in 1980.

Received the 1981 Duke University's Trinity Award for service to the university, an award voted on by Duke University students.

Legacy

In 1983, Duke University established the Mary Lou Williams Center for Black Culture

Since 1996, The Kennedy Center in Washington, D.C. has an annual Mary Lou Williams Women in Jazz Festival.

Since 2000, her archives are preserved at Rutgers University's Institute of Jazz Studies in Newark.

A Pennsylvania State Historic Marker is placed at 328 Lincoln Avenue, Lincoln Elementary School, Pittsburgh, PA, noting her accomplishments and the location of the school she attended.

In 2000, trumpeter Dave Douglas released the album Soul on Soul as a tribute to her, featuring original arrangements of her music and new pieces inspired by her work.

The 2000 album Impressions of Mary Lou by pianist John Hicks featured eight of her compositions.

The Dutch Jazz Orchestra researched and played rediscovered works of Williams on their 2005 album Lady Who Swings the Band.

In 2006, Geri Allen's Mary Lou Williams Collective released their album Zodiac Suite: Revisited.

A YA historical novel based on Mary Lou Williams and her early life, entitled Jazz Girl, by Sarah Bruce Kelly, was published in 2010.

A children's book based on Mary Lou Williams, entitled The Little Piano Girl, by Ann Ingalls and Maryann MacDonald with illustrations by Giselle Potter, was published in 2010.

A poetry book by Yona Harvey entitled Hemming the Water was published in 2013, inspired by Williams and featuring the poem "Communion with Mary Lou Williams".

In 2013, the American Musicological Society published Mary Lou Williams' Selected Works for Big Band, a compilation of 11 of her big band scores.

In 2015, an award-winning documentary film entitled, Mary Lou Williams: The Lady Who Swings the Band, produced and directed by Carol Bash, premiered on American Public Television and was screened at various domestic and international film festivals.

In 2018 What'sHerName women's history podcast aired the episode "THE MUSICIAN Mary Lou Williams," with guest expert 'Mary Lou Williams: The Lady Who Swings the Band,' producer and director Carol Bash.

Mary Lou Williams Lane, a street near 10th and Paseo in Kansas City, Missouri, was named after the renowned jazz artist.

She is one of three women who appear in the famous photograph of jazz greats, A Great Day in Harlem.