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Loading... Murder and Mendelssohn (Miss Fisher's Murder Mysteries) (edition 2018)by Kerry Greenwood (Author)When a choir conductor is found dead, either of an overdose or suffocated by the sheet music stuffed down his throat, Phryne is at much of a loss as is Detective Robinson, but both are game to try to solve the crime. Meanwhile, an insufferable mathematician is in town to give a series of lectures, accompanied by a very old friend of Phryne’s who is in need of her singular comfort, and there seems to be a turf war brewing on the docks between an old crime boss and a newcomer - who seems surprisingly familiar to Phryne….Okay, this 20th book in the Phryne Fisher series is, I think, a bridge too far. First, her long-lost male friend is gay but apparently quite happy to have sex with her repeatedly; second, I know of no choir, however amateur, that would permit a new singer to just join the group sans audition right before a big concert, and we have never been told before that Phryne can sing at all. Finally, when exactly did she have time to become a highly successful (and deadly) Intelligence agent - was that before she drove the ambulance, between leaving the Front and hanging out in Paris, before going home from Paris before moving to Australia? I know Phyrne is amazingly accomplished, especially at just 29 years old, but seriously? This one just lost me. And I didn’t even mention the sloppy editing (for example, she goes up for a nap after lunch and then after her nap, she goes downstairs for lunch). Sigh. A big disappointment. Phryne joins the choir — to find out who murdered the choir director. She isn’t lacking for suspects as he wasn’t well liked by many, if not any. The method of murder was a bit bizarre. Inspector Jack Robinson has requested Phryne’s help, as musicians and the music world are not well-known to him. Phryne joins the choir and participates in the rehearsals for the upcoming performance of “Elijah” by Mendelssohn, in order to get closer to the choir members to solve the murder. Phryne is surprised to run into an old friend from the Great War, Dr. John Wilson. Phryne drove ambulance and Dr. Wilson patched up the wounded, as best he could. Wilson is touring as assistant with Rupert Sheffield, well-known mathematician and code-breaker, who is on a speaking tour about his systems of solving murders. His lavender eyes and appearance is enticing, but his lack of tact and self-centeredness leaves much lacking. The murder of the conductor isn’t the only case Phryne is working on. She is also on the hunt for another man — a violent and dangerous man who was part of the past of her, Wilson and a couple of others. It seems her past just won’t leave her along. Memories of the danger and violence she experienced keep haunting her mind. Meeting up with Wilson, the music “Elijah” and now this man, which means contacting MI6 for assistance — another link to her past. This book seemed a little long/slow in spots. Possibly due to the verses from the choir songs being part of the text, and I’m not familiar with Mendelssohn’s “Elijah”. That said, I still enjoyed the read and the time spent with Phryne. A great get-away… This, as far as I can ascertain, I’m currently the last Phryne Fisher mystery available. In which case, what a disappointing end to the series. So many continuity errors, a very poor love story, and by far the worst aspect, no appearance by Lin Chung! The strongest character other than Phryne herself, and he appears to her been written out. Come on Kerry, we need another story on par with Murder in Monparnasse. In the author's note at the end, Kerry Greenwood admits what I thought introduced around page 20 and thoroughly established by page 160, which is that this book is almost entirely Sherlock fan fiction. I'm glad she knows herself enough to acknowledge the obvious. But it's a strange and not very competent approach to end your own, separate, and unique detective series with a work that can only be categorized as Holmes/Watson/OFC. Synopsis: Directors of the choir are being murdered. Meanwhile code-breaker Rupert Sheffield is giving public talks about how to be a detective, and for some reason people are trying to kill him. Phryne has to help solve both the murders and attempted murders to keep the peace. Review: This was a nicely twisted plot that also was a love story - sort of. It was fun to read and a made me wish there were more Phryne books to read. Murder and Mendelssohn – Greenwood Audio performance by Stephanie Daniel 2 stars Book 20 in the Phryne Fisher series; I guess it’s not surprising if the series is beginning to lose its charm. This murder mystery takes place within the environment of choral rehearsals of Mendelssohn’s Elijah. Greenwood knows her music, but the character interactions are strongly reminiscent of her previous Gilbert and Sullivan mystery. The actual mystery takes a back seat to the homo-erotic relationship of a poorly conceived Holmes/Watson recreation. The relationship wasn’t believable. The mystery plot was under-developed. The whole story was clunky. I wasn’t expecting great literature. There have always been enormous plot holes in these stories, but they were light hearted fun in a good historical setting. This one was disappointing. Read this one as a proof (perks of working in a bookstore!) This is the first time I have read Kerry Greenwood. I really enjoyed the story which had a Sherlock Holmes type feel and a fast pace. The touch of sex and mystery was well done with out being too graphic although some people may have issues with the m/m action - its not graphic but still might be an ackward gift if you intend to give it to your super catholic Grandma! Two stars only because I ? Phryne... otherwise I would give it one..... A semi-professional choral group is going to perform Elijah & other Mendelssohn pieces..... Their conductor is a Bloody Pain and he ends up dead at the hands of two different people..... Enter Phryne. Phryne joins the choir in order to investigate only to have to sort out another death of the replacement conductor (more odious than the first) and the near death of a well known & very much admired singer...... In addition, an old friend/flame of Phryne's, Dr. John Wilson, from WWI shows up at the theater. He is accompanied by a very arrogant man, Rupert Sheffield, with whom he is madly in love. However, Rupert only cares about & sees Rupert. Everyone else is a mere inconvenience to be sneered at for their lesser intelligence..... Rupert is in town to lecture on the connection between mathematics and deduction. When several attempts are made on Rupert's life and John gets hurt saving Rupert, Phryne steps in to find out who wants Rupert dead and why. All the family & friends are involved and it was a mostly delightful, fast paced, easy to read story except for (scathing review upcoming): In this book I found that Kerry Greenwood is now becoming akin to James Doss, in the manner that she seems to be writing for herself in that "Oh read this... It is such a clever piece of writing, don't you agree? I'm so happy with myself". I HATE when authors write to please themselves & flaunt their cleverness. A portion of Phryne's conversations were in French and Italian (no translation), which I found to be annoyingly arrogant (but I understood them). A good portion of the story was told in Mendelssohn's lyrics; "Why how clever" and I found that annoying. And then there is the blatant semi-graphic homosexual love(?) scene between John & Rupert...... This completely ruined the story for me. I read these books because I ? Phryne & her mob and the mystery. I'm not a prude, I read erotica.... I don't give a crap about homosexuality, what they do, how they do it (I already know, I lived with it for 15 years), and I felt it was highly unnecessary and written in for "shock" value. With that said..... I was highly disappointed and depending on the happenings in the next book..... I may or may not continue reading this series.... Phryne mixes it up yet again, this time with a group of choristers, a pair of lovers, and tantalizing echoes of her own Secret Service past. It all starts when the conductor of a choir is murdered, and Phryne sets out to solve the murder -- while joining the choir. Or does it start when our heroine runs into her very dear old friend John, who she knew (yes) in the hell of World War One? He's delightful, but not a long-run prospect for our girl, given his deep love for another man. -- a difficult character indeed, and the _target of determined murder attempts. To make things right for her old friend, Phryne decides to put a stop to these. Between the choir and her old friend, Phryne is a busy girl indeed. This isn't in the top tier of Phyrne Fisher novels. There's a bit too much time devoted to the lovers and to the music, and a bit too little to the hints about Phryne's past. But the usual cast of characters is in full swing (Jane is particularly Jane) and a grand time is had by all. Main problem: this is the last of the series that has been published. Please, Ms. Greenwood, more more more! The honourable Phryne Fisher rides again. Another delightful novel in the series, with Kerry Greenwood's witty dialogue and sharp social commentary adding to the fun. This time poor Inspector Robinson asks for help, he's dealing with arty folk again, musicians, and needs Phryne's unique skills. Phryne joins the choir to find out who murdered the conductor. She also helps an old friend with his love life and keeps him safe at the same time. Dear Phyrne is the female version of James Bond and lives almost every women's fantasy dream of a perfect life. Anyone looking for a delightful and escapist read will enjoy this novel. So for those who have never heard of Phryne Fisher - where to start? A quick(ish) introduction I think. Phryne Fisher is fabulous. Intelligent, clever, strong, independent, confident, beautiful, rich. With a minor title (honorable). She is a bit like James Bond; well-educated, well-mannered, well-armed and very well-adventured. There isn't anything she can't do. Lethal if necessary, and with her own definition of morality. She doesn't think twice about taking any available man that strikes her fancy to her boudoir. Her wealth allows her the freedom to do as she pleases and what needs to be done. She has surrounded herself with a family of her own creation - all of them saved from fates worse than death. She is, in short, a variation of woman most women would be if they could choose to be. A note too, about the author, Kerry Greenwood. I've never met her and can only go by what I've read on her website, but she sounds like someone worth knowing. She painstakingly researches what she puts in her books. Indeed, her Phryne Fisher books are the only cozies in my library that come with bibliographies in the back. So, entertainment and historical/cultural education. She has chosen to frame all of the Phyrne adventures in 1929 with no chronological advancement and makes no apologies for it. She sounds as fabulous as her creation. Murder and Mendelssohn is the 20th Phryne Fisher mystery and, I think, the longest so far. As is usual in most of the later books (if not all of them), there are several plots/mysteries running simultaneously. The main one surrounds a choir's rehearsals for Elijah by Mendelssohn and their unfortunate difficulties in keeping a conductor. The plot/mystery running in parallel is the appearance of an old friend from the WWI Western Front (she drove an ambulance; he was a doctor). He's a companion now for a mathematician that is devoted to the science of deduction. The two of them are, by Ms. Greenwood's own admission, written with a nod to Sherlock Holmes and Watson. I could, honestly, go on forever about this book; it's rich in details, a lot of dialogue and things are always happening. But I'm still getting the hang of 'in-depth' reviews so suffice it to say I loved reading it. This series has been excellent from the word 'go' and Phryne's arrival on Australian shores. Reading about Phryne is energising; her ability to manage, well, everything, verges on inspirational. For me, she's the best kind of fictional character - a devastatingly capable, pragmatic heroine. A word for any of those orthodox-cozy-readers out there - Phryne is tolerant, liberal and non-judgemental. Her morals are not the morals of the conventional and neither are those of the people who find they need her help. So don't pick up this book only to be scandalised by the part about two homosexual men, assuming you've made it that far and haven't become hopelessly offended over having the bible turned against your own (possibly) conservative beliefs. You've been warned. Of the Kerry Greenwood series, the Phryne Fisher is my favorite. Phryne does what she wants, but she is extremely generous with her time and money to those in need. In this novel, the reader learns about music and the performing of Mendelssohn's music. There are times when I feel that Greenwood presents too many sexual encounters. The scenes are done tastefully, but happen too often. Also, Phryne seems to be constantly taking a bath which seems a little reminiscent of Lady Macbeth washing her hands in Shakespeare. What is Phryne trying to rinse away? The characters are delicious and extremely distinct. The description of food and mixed drinks forces me to the kitchen in search of what cannot be found. Greenwood accosts all the senses with her books. Miss Phryne Fisher is at again. The "it" meaning solving crimes and having sex. The latter seemed more on the author's mind in this installment than the former. There were, however, two murders plus one attempted murder for Phryne to solve. All involved the conductors of a choir preparing to sing Mendelssohn's Elijah. The identity of the murderer was fairly obvious to this reader so it was surprising that Phryne and Detective Robinson had so much troubling determining who done it. There is a considerable amount of gay sex described in this novel, so if potential readers find that offensive, you might want to skip it. It was not the best entry in the series, overall. This was a sample ebook. I thought it was somewhat confusing at the start, as the characters were quickly introduced. If I had read the other novels in the series, I would have been familiar with them. I liked the musical setting. Phryne was somewhat annoying, although spirited and independent. Might read the rest of the book. Phryne's latest adventure mixes a conductor with a Mendelssohn score stuffed in his cold, dead mouth with intrigue surrounding a mystery mathematician. Her whole family is involved in working towards a solution. To discover who murdered the choirmaster Phryne joins the choir, a most entertaining group. Much of the book concerns the members of the choir, a collection of misfits and oddballs who specialize in singing dirty songs when not at rehearsal. This motley group of amateurs is attempting to put on Mendelssohn's Elijah, and it quickly becomes clear that the choir is a dangerous place for conductors. Aside from her adventures with the choir Phryne plays matchmaker, attempting to solidify the relationship between an old friend and his beloved, who happens to be none other than the mystery mathematician. There's quite a bit of sex in this volume, more so than in some of Phryne's earlier mysteries. Phryne certainly embodies the sexual ethos of the New Woman, and in the midst of a scorching Australia summer, passions rise along with temperatures. As is sometimes the case in this series, we again see Phryne invested with extraordinary talents. In this book Phryne is suddenly an accomplished singer, who is fully familiar with a range of classical vocal scores. This is a quibble I can usually overlook, as the books are so much fun. We get more of Phryne's backstory in this book, specifically we find out what she did during the war, which will likely surprise none of the regular readers of this series. War wounds, physical and emotional, play a large part in this narrative. Overall, this book is fun, as the Phryne books always are. Phryne is just a bit too perfect, but it's still an enjoyable ride. Phyrne's frolics once more intrigue! Just from Greenwood's opening line I could feel the 1929 summer Australian sunlight coming in through that St Kilda window warming me. Greenwood's highly evocative prose had me picturing Phryne 'sitting in her jasmine bower, drenched in scent.' All made even more delectable and real by the wonderful cover, the divine Phyrne in her equally divine 'green silk gown embroider in phoenixes.' I am transported back to that time and place instantly. Of course Phyne nibbles croissants and sips cafe au lait! I am smitten by these scenes before moving further! I have to pause to drink it all in. I have long been a fan of Kerry Greenwood and Phryne Fisher's marvellous exploits. She is a wonderful twenties woman. This episode does not disappoint. We have a murdered orchestra conductor on one hand and are renewing acquaintances with dear John Wilson from Phyrne's war days as an ambulance driver on the other. But John brings more murder attempts on a different front, John's friend Rupert Sheffield, mathematical genius, ex code breaker, beautiful to look at and without the slightest idea of how to win friends and influence people, is at risk. Phyrne's interesting menagerie, or rather 'family' and adherents are of course all there to lend a hand, including Molly the dog and Ember the cat (who is more autocratically decorative than anything else). Jane and Ruth are growing up, each in such a different way, and I'm quite delighted by Tinker, the ragamuffin fisher lad from Queenscliff. Every now and then I flash onto 'Auntie Mame' particularly when Phyrne and her family and friends are interacting, only Phyrne is just so much 'more' in every way. An enchanting read with the delectable, unpredictable Phynre. A NetGalley ARC This is classic Phrynne Fisher. Plenty of murder, mystery, intrigue and sex. When a choirmaster is murdered Inspector Jack Robinson calls in Phrynne to help infiltrate the choir and find out who might have had a motive. Phrynne also catches up with an old lover John Watson from her days driving an ambulance in WWI and undertakes to help him find out who is trying to kill the brilliant but enigmatic mathematician Rupert Sheffield. She also detects that John has a severe case of unrequited love and in her own inimitable way sets about remedying the situation (with a most unusual bedroom scene). Enjoyable as ever although I did feel it took a while for Phrynne to get around to solving the murders. The book seemed to get a little bogged down with the choir's rehearsals for their concert (Mendelssohn's Elijah) and the after-parties without a lot of progress being made. I also felt that some of the minor characters - Dot, Inspector Robinson, Cec and Bert - didn't feature as much as usual but just popped into the story when needed and their characters felt a bit flat. However, on the whole a strong story for the 20th book in this series. Phryne is as bold, smart, elegant, and entertaining as ever and she's surrounded by a bevy of interesting secondary characters. But the background for her 20th adventure - the murder of the director of a choral group preparing for a performance of Mendelssohn's 'Elijah' - is tedious and the side plot, which is also not terribly engaging, is completely unrelated. Phryne's attitudes are very liberal for the time period and this book contains a fair of amount of graphic heterosexual and homosexual relations. Phryne also launches into a lengthy criticism of the Book of Leviticus in order to defend the legitimacy of homosexual love, taking the reader out of the story and into the obvious opinions of the author. The motivation for murder is weak, though the method is clever. Stephanie Daniel narrates Phryne's voice perfectly but is not has adept at male characterization. Another entertaining installment in the Phryne Fisher series. This time, she's called on both to solve the murder of obnoxious conductor Hedley Tregennis and to play matchmaker for her old friend, John Wilson, who has a terrible case of (perhaps) unrequited love for the cold mathematician Rupert Sheffield. Murder and Mendelssohn has all the usual merits and flaws of a Phryne Fisher book—Greenwood's prose style could never be called polished—but I did like the care Greenwood took here to deal with the lingering aftermath of the Great War. (I was, however, deeply irritated with the end notes, where Greenwood confirms that the Wilson/Sheffield relationship is nothing more than thinly veiled Holmes/Watson fanfic. Not because she has Wilson and Sheffield begin a sexual relationship and tries through that to address some of Holmes' (and ACD's) more misogynist tendencies and assumptions, but because she lauds the BBC Sherlock adaptation and dismisses ABC's Elementary as 'silly', when Sherlock is not one whit more progressive than the original canon on grounds of gender, race or sexuality. Elementary is trying to rectify all the flaws Greenwood identifies in the original and more. Hmpfh.) Phryne Fisher returns in her 20th mystery, and one gets the distinct impression that the singer in Ms Greenwood has had issues with choir conductors in the past. But that's not the only thing that really stood out in MURDER AND MENDELSSOHN. Fans will, as always, find Miss Fisher in full flight, gorgeously costumed and decisive. A woman of means who uses those means to resolve the wrongs of the world. All of the expected elements are here - the cars, the household of supporting characters, the slightly bemused police in her wake. There's also a love interest, in the person of John Wilson, doctor and compatriot in the trenches of WW1. As attracted to Phyrne as Wilson is, his heart's desire lies elsewhere. In the person of the lavender eyed code-breaker Rupert Sheffield. Now I will admit that I was vaguely distracted by the concept of lavender eyes for a fair portion of this book, as I was by the general idea of the killing of conductors and the investigation as a whole. But what stays with me most from MURDER AND MENDELSSOHN is something noticed in the book immediately before in the series. It could be that my reading eyes are seeing things that I lean towards, but could it be that these books are developing a little edge? The first time this feeling arose was to do with the wrongs of religious organisations, and a point being firmly, but politely made. In this book, the joy of love and relationships is equally firmly, but beautifully and quite touchingly explored. Made especially poignant when seen through Phryne's eyes, with her own feelings of love, friendship and loyalty for one of the men. Aside from the gloriousness of the settings of these books, and the ongoing cast of well-known and familiar characters, there's the costumes. There's the cleverness of Miss Fisher. The dogged and quiet determination of Jack Robinson. The chaste and gentle relationship between Dot and her policeman. There's also a plot, interwoven with the personal and household touches, which never loses focus, and the internal machinations of a choir, conductor's and performance. I laughed out loud at the final line on the blurb of this book "A vastly entertaining tale of murder, spies, mathematics and music." How Miss Fisher is that. http://www.austcrimefiction.org/review/murder-and-mendelssohn-kerry-greenwood |
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Inspector Jack Robinson has requested Phryne’s help, as musicians and the music world are not well-known to him. Phryne joins the choir and participates in the rehearsals for the upcoming performance of “Elijah” by Mendelssohn, in order to get closer to the choir members to solve the murder.
Phryne is surprised to run into an old friend from the Great War, Dr. John Wilson. Phryne drove ambulance and Dr. Wilson patched up the wounded, as best he could. Wilson is touring as assistant with Rupert Sheffield, well-known mathematician and code-breaker, who is on a speaking tour about his systems of solving murders. His lavender eyes and appearance is enticing, but his lack of tact and self-centeredness leaves much lacking.
The murder of the conductor isn’t the only case Phryne is working on. She is also on the hunt for another man — a violent and dangerous man who was part of the past of her, Wilson and a couple of others. It seems her past just won’t leave her along. Memories of the danger and violence she experienced keep haunting her mind. Meeting up with Wilson, the music “Elijah” and now this man, which means contacting MI6 for assistance — another link to her past.
This book seemed a little long/slow in spots. Possibly due to the verses from the choir songs being part of the text, and I’m not familiar with Mendelssohn’s “Elijah”. That said, I still enjoyed the read and the time spent with Phryne. A great get-away… ( )