Both versions of Alfred Hitchcock’s The Man Who Knew Too Much (1934/1956) contain excellent scenes in which a killer takes aim at their target in the Royal Albert Hall while the music builds ominously. Sebastian Farr’s Death on the Down Beat (1941) utilises the same idea, but transfers it to an orchestral performance of Richard Strauss’ Ein Heldenleben in the fictional northern city of Maningpool and picks up after the killing, asking what would happen if the murder of an unpopular conductor in such circumstances was investigated a weary detective who just wants to get home to his wife and young children and finds himself frustrated at almost every turn by the intrusion by self-important local types.