Sign of the Hammer!

Saturday, 2 December 2017

Drunk Enough to Know No Fear: The Genesis of Brahms & Liszt

Many years ago*, when I was young, I got an email from Davey Candlish, editor of PARAGON. He had a number of projects he was interested in instigating for his comic, and was wondering if any writers fancied pursuing them. To me, one idea leapt out immediately - and this was it:

"A buddy movie / amateur detective type tale set in 1853 Weimar. Two
professional musicians who actually dislike each other's work team up to
solve... whatever, you choose. I want a light hearted tale with lots of
quips and digs at each other. Their names? Brahms and Liszt. You don't
need to know their music, or indeed like it - it's just a hook to hang
the story on."

 Brahms & Liszt, the famed composers, as music-themed detectives? I liked it. And almost immediately, I started to see how the double-act would work, and how it would suit the kind of stories I like to write.

My first point of reference, oddly, was the Tom Hanks / Dan Aykroyd comedy movie 'Dragnet', with the roles reversed. Liszt, the older man would be the wilder one - the maverick 'rock 'n' roll' showman, almost a Keith Richards of classical. He'd have the Tom Hanks 'Pep Streebek' role - the easy-going good guy. The younger Brahms would be the more uptight, OCD perfectionist of the pair, with an eye for detail - analogous to Dan Aykroyd's 'Friday' character.

Digging into Brahms & Liszt's first meeting in Weimar, both Davey and I simultaneously discovered that the local Grand-Duke had perished around the same time - could foul play be involved? I also discovered that the duo had not got off to a good start - Brahms had fallen asleep during one of Liszt's performances. With a little more research I was able to flesh out their characters. Here's the notes from my original pitch:

Franz Liszt: 42-year-old Liszt is a pop star before the term was invented, a somewhat Byronic ladies man who lives a Bohemian existence. Worshipped across northern Germany, Liszt goes in for theatrics and a baroque ‘n’ roll aesthetic. Liszt lives with a married Polish princess, Princess Carolyne, in Weimar. He has children from a previous relationship who live in Paris. For all his celebrity status and quasi-mystical hold over his audiences, Liszt is also a great humanitarian – he’s so wealthy he can afford to give away huge sums to charity, and whilst he seems to have a maverick quality, he has a strong moral core.

Johannes Brahms: 20-year-old Brahms is Liszt’s opposite, a young orderly, traditional man, of set routines and habits, and a notorious perfectionist, with a strong eye for detail and a slightly obsessive streak. He is a deeply sarcastic, taciturn figure, an old man before his time, who is always ready with a put-down or an expression of scorn for Liszt’s extravagant lifestyle. However, he gets on well with children, and enjoys nature. He is not at all vain, and dresses rather cheaply: brought up as a Lutheran, he has the classic Protestant work ethic and disdain for flamboyance.

With this in place, and an overarching plot whose nature I'll not yet reveal, I had the ingredients for what I hoped what be an enjoyable buddy comedy with a dose of murder, mystery and a slight touch of the paranormal. And now, drawn by Davey, coloured by Jim Cameron and lettered by Spencer Nero alumni Fillipo Roncone, 'Wotan Walks in Weimar' is finally about to make its debut in PARAGON #21.

I hope you enjoy it -  it's been fermenting a long time!

 *2011, to be precise.

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