Here’s the relevant passage from the book:
As my consciousness returns from wherever it’s been, Christian pulls out of me. The music has stopped, and I can feel him stretch across my body as he undoes the cuff on my right wrist. I groan as my hand is freed. He quickly frees my other hand, gently pulls the mask from my eyes, and removes the ear buds. I blink in the dim soft light and stare up into his intense gray gaze.
“Hi,” he murmurs.
“Hi, yourself,” I breathe shyly back at him. His lips quirk up into a smile, and he leans down and kisses me softly.
“Well done, you,” he whispers. “Turn over.”
Holy fuck – what’s he going to do now? His eyes soften.
“I’m just going to rub your shoulders.”
I roll stiffly onto my front. I am so tired. Christian sits astride me and starts to mas-
sage my shoulders. I groan loudly – he has such strong, knowing fingers. Leaning down, he kisses my head.
“What was that music?” I mumble almost inarticulately.
“It’s called Spem In Alium, or the Forty Part Motet, by Thomas Tallis.”
“It was… overwhelming.”
“I’ve always wanted to fuck to it.”
Full story at CMU:
The Tallis Scholars’ recording of Thomas Tallis’ 1570s piece ‘Spem In Alium’ has been rising up the classical countdown for the last six weeks, eventually bringing Luciano Pavarotti’s recent three week run at the top of the chart to an end on Sunday.