Reluctantly agreeing to play at a local fundraiser she soon finds herself caught up in murder, museum intrigue and attracted to both a cello playing policeman and a Francophile chef. Roaming around the Bath museum complex she sees a scene which will have great repercussions later that is the following day when she returns to find a missing sash from her gown only to discover the museum director’s body in the pool of the Roman baths. She had witnessed the pompous director imperiously escorting an odd fat man from the building and arguing with a co-worker. There was also the woman with the strangely colored hair who seemed to have no connection with anyone.

Soon Sara finds she has changed her tune and life is much more interesting and music more alluring. As she visits with an aging musician his words gradually cause her fears to subside and her cello beckons once more. Her heartstrings, too, feel tugs as her relationship with her sole pupil, the police officer in charge of the case cross from tutor to potential lover. They begin to discuss the murder and Sara’s insights prove crucial.

There are minor chords in this melody. Sue who works at the local health club and her stormy romance with Paul the devastatingly handsome waiter who sends out signals that he fancies older women make up one couple while the other provide comic relief with their awkward gropings. These notes play in and out of the major chords as Sara realizes that she has to see beyond the obvious and connect the notes to create a new sound.

Weaving in and out of the tale is an anonymous Senegalese refugee who gives an ominous tone to a rather bizarre tune. His actions lend a tragic final note to the whole story reminding us of the tragedy that sometimes makes the most moving music.

Sara returns to the stage but the reader must hope Morag Joss brings the character back to us once more. This debut novel and talented sleuth should get star billing!

--Jane Davis