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Murder Duet: A Musical Case |
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Murder Duet: A Musical Case |
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基本信息·出版社：Harper Paperbacks
·页码：444 页
·出版日期：2000年07月
·ISBN：0060932988
·条形码：9780060932985
·装帧：平装
·正文语种：英语
·外文书名：谋杀二重奏
内容简介 在线阅读本书
Fourth in a series of popular, intellectually challenging mysteries from acclaimed Israeli author Batya Gur, Murder Duet features once again the smart, charming, and lonely police officer Michael Ohayon. After his cellist friend's father and brother--who are also well-known musicians--are brutally murdered, Ohayon, a classical music afficionado, sets out to solve the crime. From the opening pages, where the detective plays a compact disc of Brahm's First Symphony, to the newly discovered music for an unknown Vivaldi requiem that provides a rock-solid motive for the crime, lovers of crime novels, as well as music, will thrill to every dulcet note.
作者简介 Batya Gur (1947-2005) lived in Jerusalem, where she was a literary critic for Haaretz, Israel's most prestigious paper. She earned her master's in Hebrew literature at the Hebrew University of Jerusalem, and she also taught literature for nearly twenty years.
媒体推荐 From Booklist Gur's previous Michael Ohayon novels have taken the introspective Jerusalem policeman inside three distinctly insular worlds: those of the psychiatrist, the literary critic, and the kibbutznik. The pattern holds in this long-awaited fourth installment in the superb series. This time Ohayon enters the world of classical music, but he does so without the piercing objectivity he was able to bring to his other cases. The murder victims are the father and brother of a woman, cellist Nita van Gelden, with whom Ohayon shares an intimate, though platonic, friendship, and the timing of the crimes threatens to upset Ohayon's plan to adopt an abandoned baby he has discovered in his apartment building. As Ohayon probes the van Gelden family, all of whose members are celebrated musicians, his relationship with Nita teeters, and his chances of being allowed to keep the baby dwindle. As always, Gur writes with great psychological insight and remarkable sensitivity, this time forcing her hero to confront the polarities of his personality: his overwhelming drive to ferret out cause and effect in the external world, on the one hand, and his obsessive need for personal privacy, on the other. Here, in order to solve the case, he must violate the privacy of someone he loves, and in so doing, allow his own world to be invaded. With a "heavy boot intruding on his private vulnerabilities," Ohayon plunges ahead, unraveling how the discovery of an unknown Vivaldi requiem unleashed a lethal mix of jealousy, greed, and familial rivalry. Numerous crime novelists have used classical music as a theme, but Gur has managed more effectively than any other to integrate musical matters into the fabric of the story. From the foreboding opening notes of Brahms' First Symphony, which Ohayon plays in the novel's first scene, through Nita's brother's discussion of the classical style, the "music-saturated air" informs the novel's substance as powerfully as it does its atmosphere. A virtuoso performance.
Bill Ott --This text refers to an out of print or unavailable edition of this title. From Kirkus Reviews What on earth would those hard-boiled cops in the 87th Precinct make of Jerusalem's soft-boiled Chief Supt. Michael Ohayon? Not that soft-boiled is anything new among crime fiction cops, but Ohayon pushes sensitive to the edge. Consider this, for instance. Alone in his apartment one night, a ``trembling'' OhayonBrahms's First is on his CD playerbecomes aware of a persistent wailing, as of a baby crying. It is a baby crying. He rushes into the corridor to find same in a cardboard box, abandoned. Chief Supt. Ohayon, the workaholic head of the Serious Crimes Unit, divorced father of a 23-year-old son, lifts the howling infant in his arms, and decides on the spot that he must adopt her. (Shut your mouth, Steve Carella. There are more things in heaven and earth . . . .) Because shes obviously hungry, Ohayon charges into the apartment of Nita Van Gelden, foraging for baby food. Nita is a young mother. She's also, it turns out, a cellist of some renown with two world-class musicians for brothers. Nita has food. Nita has diapers. And soon enough Nita has problemsthe kind Ohayon might be able to help with if only he'd get his head back in the game. First, Nita's father is murdered, next her violinist brother. Are the two homicides connected? You bet, and eventually Ohayon does stop nurturing long enough to sort out the how and the who. It's Ohayon's fourth outing (Murder on a Kibbutz, 1994, etc.), but Dalgleish, Wexford, Morse et al. needn't look back. He isn't gaining on them. --
Copyright ©1999, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title. --Booklist "A virtuoso performance."
--Amos Oz "Not only a superb murder mystery but also a subtle study of the relations between creativity, ambition, love, and possessiveness."
--Newsday "Reading Gur, one is struck, first, by her obvious command of the genre, and, foremost, by her exemplary psychological insight."
--Newsday "Reading Gur, one is struck, first, by her obvious command of the genre, and, foremost, by her exemplary psychological insight."
编辑推荐 From Publishers Weekly The lives of classical musicians are the focus of the latest entry in Gur's admirable series featuring Israeli Chief Superintendent Michael Ohayon (Murder on a Kibbutz, etc.). A divorc? with one adult child, Michael is returning to work after a two-year study leave, and his life is empty and lonely. So when an abandoned baby girl appears on his doorstep, he turns to his upstairs neighbor, a single mother and cellist named Nita van Gelden, for help. Nita belongs to a close-knit family of prominent musicians and music lovers. Her brother Theo is an internationally known conductor; another brother, Gabriel, is a violinist; and her father, Felix, is the owner of a famed music shop. When Nita's father is murdered, Michael faces a dilemma: he wants to lead the investigation, but he's afraid his growing affection for Nita will interfere with his inquiry, which involves the possible discovery of a previously unknown Vivaldi requiem. Gur's small group of suspects live in an insular world devoted to classical music, and she excels at exploring their psychological motivations in her long, complex tale. Relief from the preoccupation with composers is found in Gur's touching portrait of Michael and Nita's obsession with the babies they care for. Though Gur constructs her plot carefully, the novel is most memorable for its abundant digressions on music history and the musical life.
Copyright 1999 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title. 专业书评 From Publishers Weekly The lives of classical musicians are the focus of the latest entry in Gur's admirable series featuring Israeli Chief Superintendent Michael Ohayon (Murder on a Kibbutz, etc.). A divorc? with one adult child, Michael is returning to work after a two-year study leave, and his life is empty and lonely. So when an abandoned baby girl appears on his doorstep, he turns to his upstairs neighbor, a single mother and cellist named Nita van Gelden, for help. Nita belongs to a close-knit family of prominent musicians and music lovers. Her brother Theo is an internationally known conductor; another brother, Gabriel, is a violinist; and her father, Felix, is the owner of a famed music shop. When Nita's father is murdered, Michael faces a dilemma: he wants to lead the investigation, but he's afraid his growing affection for Nita will interfere with his inquiry, which involves the possible discovery of a previously unknown Vivaldi requiem. Gur's small group of suspects live in an insular world devoted to classical music, and she excels at exploring their psychological motivations in her long, complex tale. Relief from the preoccupation with composers is found in Gur's touching portrait of Michael and Nita's obsession with the babies they care for. Though Gur constructs her plot carefully, the novel is most memorable for its abundant digressions on music history and the musical life.
Copyright 1999 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title. From Booklist Gur's previous Michael Ohayon novels have taken the introspective Jerusalem policeman inside three distinctly insular worlds: those of the psychiatrist, the literary critic, and the kibbutznik. The pattern holds in this long-awaited fourth installment in the superb series. This time Ohayon enters the world of classical music, but he does so without the piercing objectivity he was able to bring to his other cases. The murder victims are the father and brother of a woman, cellist Nita van Gelden, with whom Ohayon shares an intimate, though platonic, friendship, and the timing of the crimes threatens to upset Ohayon's plan to adopt an abandoned baby he has discovered in his apartment building. As Ohayon probes the van Gelden family, all of whose members are celebrated musicians, his relationship with Nita teeters, and his chances of being allowed to keep the baby dwindle. As always, Gur writes with great psychological insight and remarkable sensitivity, this time forcing her hero to confront the polarities of his personality: his overwhelming drive to ferret out cause and effect in the external world, on the one hand, and his obsessive need for personal privacy, on the other. Here, in order to solve the case, he must violate the privacy of someone he loves, and in so doing, allow his own world to be invaded. With a "heavy boot intruding on his private vulnerabilities," Ohayon plunges ahead, unraveling how the discovery of an unknown Vivaldi requiem unleashed a lethal mix of jealousy, greed, and familial rivalry. Numerous crime novelists have used classical music as a theme, but Gur has managed more effectively than any other to integrate musical matters into the fabric of the story. From the foreboding opening notes of Brahms' First Symphony, which Ohayon plays in the novel's first scene, through Nita's brother's discussion of the classical style, the "music-saturated air" informs the novel's substance as powerfully as it does its atmosphere. A virtuoso performance.
Bill Ott --This text refers to an out of print or unavailable edition of this title. From Kirkus Reviews What on earth would those hard-boiled cops in the 87th Precinct make of Jerusalem's soft-boiled Chief Supt. Michael Ohayon? Not that soft-boiled is anything new among crime fiction cops, but Ohayon pushes sensitive to the edge. Consider this, for instance. Alone in his apartment one night, a ``trembling'' OhayonBrahms's First is on his CD playerbecomes aware of a persistent wailing, as of a baby crying. It is a baby crying. He rushes into the corridor to find same in a cardboard box, abandoned. Chief Supt. Ohayon, the workaholic head of the Serious Crimes Unit, divorced father of a 23-year-old son, lifts the howling infant in his arms, and decides on the spot that he must adopt her. (Shut your mouth, Steve Carella. There are more things in heaven and earth . . . .) Because shes obviously hungry, Ohayon charges into the apartment of Nita Van Gelden, foraging for baby food. Nita is a young mother. She's also, it turns out, a cellist of some renown with two world-class musicians for brothers. Nita has food. Nita has diapers. And soon enough Nita has problemsthe kind Ohayon might be able to help with if only he'd get his head back in the game. First, Nita's father is murdered, next her violinist brother. Are the two homicides connected? You bet, and eventually Ohayon does stop nurturing long enough to sort out the how and the who. It's Ohayon's fourth outing (Murder on a Kibbutz, 1994, etc.), but Dalgleish, Wexford, Morse et al. needn't look back. He isn't gaining on them. --
Copyright ©1999, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title. --Booklist "A virtuoso performance."
--Amos Oz "Not only a superb murder mystery but also a subtle study of the relations between creativity, ambition, love, and possessiveness."
--Newsday "Reading Gur, one is struck, first, by her obvious command of the genre, and, foremost, by her exemplary psychological insight."
--Newsday "Reading Gur, one is struck, first, by her obvious command of the genre, and, foremost, by her exemplary psychological insight."
