Disclaimer: They aren't mine and never will be.
Note #1: The prompt was "meeting at a concert," and that inspired the idea of a drabble series composed in movements—a concerto of courtship, sort of, with "tempo" referring not just to music but the pace of their relationship. (I'm obliged to admit, however, that this has too many movements to correspond to an actual concerto.)
Note #2: The titles of the movements mean (in order): "very slow," "slow and stately," "moderately," "fast, but not too much," and "lively and fast, with fire." If you want to know what they're listening to, there are soundtrack notes at the end.



Largo


Hermione first spots him at the Fauré concert.

She isn't looking for him—not at all. She's there for herself.

She's there to listen.

She relaxes, letting the strings and choir fill her senses. She always closes her eyes to better concentrate on the music, pure and undiluted: the melancholy pavane, the sadness that sweetly resonates with aching places inside her.

Afterward, when applause is thundering out all around her—then she spots him: a familiar silhouette in another row, a face so distinctive that her breath freezes in her throat.

Severus Snape is alive—and he enjoys the symphony.


Adagio


Snape attends the Bach concert, too.

Hermione stares, noting his details: the white streak in his hair, his glasses, his clothing. He looks like a Muggle academic—bookish, non-magical—and she wonders if she's mistaken about him.

Yet as the music continues, he's transformed into the wizard she remembers, taut with intense concentration. He's analysing music as he once analysed magic, illuminated with curiosity, admiration and wonder.

Hermione is enthralled.

She wonders what he hears in the music. Does it bring to mind secret desires, ripening and unfurling?

Amazingly, she dares to speak to him afterward.

More amazingly, he listens.


Moderato


It seems silly to avoid one another afterward—so they don't.

Hermione suspects that they both appreciate the company, though they never say so. When conversation turns to non-musical topics, neither of them objects.

Their first concert together is Vivaldi, and Severus is enraptured by "Winter," his eyes closed in obvious pleasure.

It's his music, Hermione thinks: restrained in one moment, yet exploding with unexpected passion in the next. The passion is ever-present, throbbing beneath the surface, but rarely is it expressed.

She looks at him and smiles, wondering what it would take to make his own hidden passion surface.


Allegro Non Troppo


Hermione dislikes Tchaikovsky.

She was certain she'd never appreciate it—it's too romantic—but when she hears it alongside Severus, she finds herself reconsidering.

The music sounds lush and lovely now. It conjures thoughts of crashing waves, beautiful and slightly frightening in their power to sweep her away, flooding her with emotions she couldn't begin to name.

Severus feels it, too. It's obvious in his warm, glittering gaze and the flush of pink on his cheek.

The pink deepens when she kisses that cheek.

He says nothing—but the hand he presses to his cheek in silent amazement speaks volumes.


Vivace Con Fuoco


Sarasate's music is fiery and passionate and sensual.

So are they, after listening to it.

The tension between the two violins draws Hermione in; it gets her blood moving and pulse pounding. Their voices dance around one another, their melodies intricately interwoven—here flirting outrageously, here caressing one another, here melding in seamless unison: one voice, made of two.

When both voices soar up to a sweet crescendo, she glances at Severus and sees her desire reflected in his eyes.

No sooner is the concert finished than they are Apparating to her flat, intent on reaching crescendos of their own.




Soundtrack Notes:
The music in "Largo" is Fauré's Pavane for Orchestra and Chorus in F Sharp Major.
The music in "Adagio" is the "Largo Ma Non Tanto" from Bach's Concerto for Two Violins in D Minor.
The music in "Moderato" is the "Allegro Non Molto," from "Winter," of Vivaldi's The Four Seasons.
The music in "Allegro Non Troppo" is the "Allegro Non Troppo e Molto Maestoso," from Tchaikovsky's Piano Concerto No. 1 in B Flat Minor.
The music in "Vivace Con Fuoco" is Sarasate's Navarra, which is indeed played with two paired violins.