Music is Murder: A Musical Murder Mystery
Cozy Mystery
1st in Series
Publisher: Camel Press (June 8, 2021)
Paperback: 242 pages

Synopsis

When a symphony musician is murdered—bashed with her own bassoon—flute player Emily Wilson becomes the prime suspect. To save herself and secure justice for her murdered friend, she must find the killer.

In the close-knit, unforgiving environment of the symphony orchestra Emily makes her way through the tender egos and warped relationships of her fellow musicians to find tantalizing clues. Blackmail, the victim’s abusive ex-boyfriend, an angry neighbor, and a shifty Symphony Board member all lead her to feel she is on the right track.

With the dogged Lieutenant Gordon on her trail, she must flee from the police so she can continue her search. She unexpectedly finds a loyal female friend and the possibility of a new man in her life. But she must learn to trust again after her failed and abusive marriage. With time running out, will she be able to evade the lieutenant, face her personal demons, and clear her name?

Amazon * B&N * Bookshop * Target

Guest Post

Many Musings, Mostly Musical: Auditions

By B.J. Bowen

In a symphony musician’s experience, one of the things people are most curious about is auditions. How are people selected for a symphony? What is the competition like? How does it feel?

The selection process begins months, maybe years, before the opening is advertised. Musicians prepare “orchestral excerpts”—that is, short selections from symphonic music featuring a particular instrument. I was an oboe and English hornist, and I worked ad infinitum on the oboe solos from Rossini’s La Scala de Seta, Beethoven’s Eroica, and Brahm’s Symphonie No. 1. On English horn I prepared the solos from Dvorak’s New World Symphony, De Falla’s Three Cornered Hat, and Ravel’s Mother Goose Suite. And, of course, there were many other excerpts that needed to be ready, too.

The protagonist of my series, Musical Murders, Emily Wilson, plays flute. She has probably been working on Afternoon of a Faun, by Debussey, Ravel’s Daphnis and Chloe, Suite #2, and Prokofieff’s Classical Symphony, among others.

The victim of the first book, Music is Murder, Olive Patterson, plays bassoon. She would have worked on the solos from Ravel’s Bolero; Tchaikovsky Symphonies 4, 5, & 6; and Mozart’s Marriage of Figaro.

This is before the audition has even been announced. Why do musicians work so long and hard on these short snatches of music? Assigned excerpts are played in the first round of the audition by all auditioners. There may be as many as 200 people trying out. So, in an effort to set him or herself apart from the crowd, the musician practices, and practices, and practices on these excerpts.

To begin a specific audition, management places an ad in the International Musician, the union paper, approximately four months prior. Based on their resumes, invited auditioners are sent a list of the pieces requested for the first round of the audition. To make sure neither bias nor favoritism is present, most auditions are held behind a screen, so the player cannot be seen by the audition committee. In the early days of auditions, before women were principals and seldom even players, so the story goes, the Boston Symphony held auditions for principal flute behind a screen. There was a gap of about an inch between the floor and the bottom of the screen. Doriot Anthony Dwyer was talking to a custodian before her turn to play the audition. He suggested they switch shoes so the committee wouldn’t see a woman’s feet. She did, and she won the audition, becoming only the second woman principal in the symphony world. (More reliable accounts state that Charles Munch, the conductor, dissatisfied by the male applicants, asked Ms. Dwyer and another woman to audition based on recommendations received.) Warm-ups and exercises which might give away the identity of the auditioner are not allowed.

Pity the audition committee which must select from such a huge field, all playing the same works! Monitors (non-voting audition assistants) and orchestra personnel managers may also have to deal with such dramas as auditioners who do not handle the extraordinary stress well, and those whose egos are crushed after getting the bad news of an unsuccessful performance.

The successful auditioner plays round after round, spending the day, and perhaps several days, attempting to win the audition. In later rounds concertos, sightreading, or pieces of the auditioner’s choice may be requested. An auditioner may even be asked to play rehearsals with the orchestra.

The unsuccessful auditioner must now deal with feelings of rejection, bitterness, and failure. Or not. Most musicians shrug their shoulders, go back to the drawing board, and try to ensure a better outcome next time. It’s all part of the process.

Have you ever had to prove yourself against great odds or competition? How did you deal with the mental stress? Did you do extensive preparation? Did it help or hurt? Answer in the comments. I’ll be interested to hear your answers.

About the Author

Barbara Bowen is a freelance writer. She was a finalist and Honorable Mention in the 2018 Focus: Eddy Awards for her article, “Letting Go with Grace,” published in Unity Magazine. Ms. Bowen is also an accomplished professional oboist who played with the Colorado Springs Symphony for nineteen years.

Drawing on her quirky fellow musicians and orchestral experiences, she created the mystery series, “Musical Murders.” The first is “Music is Murder” (Release date, 6-9-21). The second is “Ballistics at the Ballet” (Release date TBA) The third is “Fireworks on the Fourth” (Release date TBA).

She is a member of Sisters in Crime, lives in Colorado with two canine friends, and has a stock of musical puns and a song for any occasion.

Website * Facebook * Goodreads * BookBub

Giveaway

a Rafflecopter giveaway