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4.0 out of 5 stars
A conductor who strikes the wrong note with the orchestra, 17 Jun 2006
If you aren't already familiar with Archie Goodwin and his employer, Nero Wolfe, this is the wrong place to start, even though it's a good book. Start with one of Rex Stout's original stories instead - go on, shoo. In particular, A FAMILY AFFAIR, Stout's final Wolfe novel, lays the groundwork for this book. While one *could* read the two books out of order, MURDER IN E MINOR by necessity gives away the ending of its predecessor. I have avoided giving major spoilers for A FAMILY AFFAIR in this review, but the book itself does so in the first chapter.
Goldsborough makes one deliberate departure from Rex Stout's template for a Nero Wolfe mystery: this story is not set in 1986, when it was first published, but in November 1977, only two years after the end of A FAMILY AFFAIR. (Archie provides a forward: Wolfe saw this case as a personal matter, inappropriate for publication, and since he signs Archie's paychecks, Archie went along. Wolfe only gave in after being worn down by much badgering.) MURDER IN E MINOR was written originally for Goldsborough's mother, who missed her yearly Nero Wolfe fix, so Goldsborough otherwise has tried as far as possible to match Rex Stout's storytelling.
As those who have read A FAMILY AFFAIR already know, Wolfe and Archie both had a rough time in that case, although the District Attorney reinstated their P.I. licenses shortly after its conclusion. Since then, Wolfe has not merely resisted going back to work - that would be normal - but has 'withdrawn from practice'. The brownstone is operating on a combination of Wolfe's investments and on previously earned fees being paid in installments. (Fritz's morale, of course, is at an all-time low.) Archie has no lever to get Wolfe to take his brain out of deep freeze...until Maria Radovich requests an appointment.
Archie at first thinks that Maria's mention of her uncle's long-ago acquaintance with Wolfe in Montenegro is a put-up job to get in the door, but Archie admires ingenuity and is willing to at least give her a hearing himself. (And Milan Stevens/Milos Stefanovic *is* receiving anonymous death threats, and Lily Rowan's taken Archie to the New York Symphony enough that the music director's name is familiar.) But Maria has a photograph to back up her story - a group photo including Milos, Wolfe, and Marko Vukcic: a memento of Wolfe's freedom-fighting youth.
Archie, of course, plants the photo in Wolfe's incoming mail and awaits developments, which are not slow in coming. :) Milos and Wolfe were once close friends, and although the friendship has withered and they haven't spoken for decades, Wolfe still feels a debt: Milos once saved his life.
In the course of peeling open the case - which naturally flowers into a murder investigation in the fullness of time - the recurring characters are deployed well. Lon Cohen dines at the brownstone, providing background on the symphony - Milos, who was hired as an antidote to a string of weak conductors, hasn't achieved the desired results: the orchestra's more disciplined, but at the cost of great tension and infighting, so the quality of performance has declined. Rowcliff, unfortunately, runs the crime scene - his clash with Archie isn't *the* most memorable, but leads to Cramer's first visit of the story, which *is* memorable. Various members of Archie's regular poker game appear later, when Wolfe takes exception to the homicide squad's choice of suspect. Lily Rowan not only appears - she pitches in.
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