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SCORE CV MAKES LEGRAND LE GREAT
By Caroline Kay
Burton Mail
Feb 6 2009
UK
IF THERE'S something, or someone, that is bound to make me giggle
like a schoolgirl, it's a Frenchman.
They ooze charm, sophistication and, of course, the accent is to
die for.
So imagine my delight when I have the opportunity to catch up with
Michel Legrand as he embarks on his UK tour with Alison Moyet next
month.
The five-time Grammy award-winning composer's credits include the
musical score for Yentl, The Thomas Crown Affair, The Umbrellas Of
Cherbourg and Summer Of '42, winning an Academy Award for Original
Song with The Windmills of Your Mind.
The music maestro will be appearing with Moyet at venues across the
country for an 11-date tour, kicking off in Dublin on Sunday.
"I am delighted to be performing with Alison and jumped at the chance
to tour with her," he said.
"I am a big fan and really looking forward to swinging and singing
with her."
Moyet has already performed Legrand songs including Windmills of Your
Mind and What Are You Doing The Rest of Your Life on the album Voice,
and sang I Will Wait For You as part of the Liverpool Pops in 2003.
The legend that is Legrand is no stranger to the UK - over the
years he has spent here he produced two stage musicals, The Count Of
Monte Cristo with Don Black and, more recently, collaborated with Les
Miserable duo Claude-Michel Schnberg and Alain Boublil on Marguerite,
a musical set during World War Two in occupied Paris. It premiered
in the West End last year and is set to tour in Japan and America
later this year.
Legrand began his career in 1954, becoming an overnight success
with his first album I Love Paris and for more than a decade
dedicated himself to many French film directors, writing score after
score. Eventually, though, this regime took its toll.
"After spending more than 10 years during the 50s and 60s working with
a new wave of French directors I became fed up, I wanted a change,"
he said.
"So, I went to each director I had worked with over the years and
asked them not to come to me again with any work. I was not going
to do any more film scores for them, I was going to America and that
was that. No way was I going to write any more music for them.
"Then I was approached by Jean-Luc Godard who I had worked with many
times before and he asked me to score one last film.
"What I didn't expect, when the film was released, was my name in
full Cinemascope stating this was the last film I would score for
in France."
Legrand then spent the next 15 years in America until deciding,
after scoring hit movies, that history must repeat itself.
"Once I had tired of The States I again told the industry I was
leaving, this time to return to my home country. I felt I had paid
my dues and didn't want to write any more movie scores.
"That was until I was approached to write the score for the Bond movie,
Never Say Never Again. This time I collaborated with Alan and Marilyn
to produce the title song - and have never said never again."
Born in 1932 of maternal Armenian Bourgeoisie descent, Legrand's
father left the family home when his son was just three.
"Because of what happened in my formative years I don't feel as if
I am from a music background," Legrand says.
"Although my father was a musician and singer, he didn't appear back
in my life until I was around 18 or 19. He would come to me for advice
and I used to think 'Hey, who is the son and who is the father in
this relationship?'
"I don't feel as if he influenced me in any way, I was affected more
by the music of Mozart and Stravinsky. Influence is everywhere and
in all types of music.
"Over the years so many different artists have influenced me and
I have been fortunate to have played with some of the real greats
including Duke Ellington and Ray Charles. In fact, I have played with
some fantastic musicians, and I am especially grateful to those who
have had the decency to stay alive and let me do so!"
So what does Michel think of today's music?
"I think the rhythms are great - alive and exciting, but the words
are mediocre and there doesn't seem to be much melody attached to
them. It bores me.
"Now, Irving Berlin and Rogers and Hammerstein - they excite me. Their
music is real, it means something to me and has stood the test of
time and is still appreciated today."
It is evident from the briefest of chats with Michel that he's witty,
ironic and a very savvy chappy. He's produced some of the most
amazing music over the years and has left his mark on the industry
in many ways.
For those of you who think you don't know his music, take a look at
the rolling credits of one of your favourite films and you may be
surprised to find his name in full Cinemascope.
Legrand and Moyet's tour includes dates at Birmingham Symphony Hall
on Monday (0121 780 3333), Bridgewater Hall in Manchester on Tuesday
(0161 907 9000), De Montfort Hall in Leicester on Thursday (0116 233
3111) and Buxton Opera House on Tuesday, February 17 (0845 127 2190).
By Caroline Kay
Burton Mail
Feb 6 2009
UK
IF THERE'S something, or someone, that is bound to make me giggle
like a schoolgirl, it's a Frenchman.
They ooze charm, sophistication and, of course, the accent is to
die for.
So imagine my delight when I have the opportunity to catch up with
Michel Legrand as he embarks on his UK tour with Alison Moyet next
month.
The five-time Grammy award-winning composer's credits include the
musical score for Yentl, The Thomas Crown Affair, The Umbrellas Of
Cherbourg and Summer Of '42, winning an Academy Award for Original
Song with The Windmills of Your Mind.
The music maestro will be appearing with Moyet at venues across the
country for an 11-date tour, kicking off in Dublin on Sunday.
"I am delighted to be performing with Alison and jumped at the chance
to tour with her," he said.
"I am a big fan and really looking forward to swinging and singing
with her."
Moyet has already performed Legrand songs including Windmills of Your
Mind and What Are You Doing The Rest of Your Life on the album Voice,
and sang I Will Wait For You as part of the Liverpool Pops in 2003.
The legend that is Legrand is no stranger to the UK - over the
years he has spent here he produced two stage musicals, The Count Of
Monte Cristo with Don Black and, more recently, collaborated with Les
Miserable duo Claude-Michel Schnberg and Alain Boublil on Marguerite,
a musical set during World War Two in occupied Paris. It premiered
in the West End last year and is set to tour in Japan and America
later this year.
Legrand began his career in 1954, becoming an overnight success
with his first album I Love Paris and for more than a decade
dedicated himself to many French film directors, writing score after
score. Eventually, though, this regime took its toll.
"After spending more than 10 years during the 50s and 60s working with
a new wave of French directors I became fed up, I wanted a change,"
he said.
"So, I went to each director I had worked with over the years and
asked them not to come to me again with any work. I was not going
to do any more film scores for them, I was going to America and that
was that. No way was I going to write any more music for them.
"Then I was approached by Jean-Luc Godard who I had worked with many
times before and he asked me to score one last film.
"What I didn't expect, when the film was released, was my name in
full Cinemascope stating this was the last film I would score for
in France."
Legrand then spent the next 15 years in America until deciding,
after scoring hit movies, that history must repeat itself.
"Once I had tired of The States I again told the industry I was
leaving, this time to return to my home country. I felt I had paid
my dues and didn't want to write any more movie scores.
"That was until I was approached to write the score for the Bond movie,
Never Say Never Again. This time I collaborated with Alan and Marilyn
to produce the title song - and have never said never again."
Born in 1932 of maternal Armenian Bourgeoisie descent, Legrand's
father left the family home when his son was just three.
"Because of what happened in my formative years I don't feel as if
I am from a music background," Legrand says.
"Although my father was a musician and singer, he didn't appear back
in my life until I was around 18 or 19. He would come to me for advice
and I used to think 'Hey, who is the son and who is the father in
this relationship?'
"I don't feel as if he influenced me in any way, I was affected more
by the music of Mozart and Stravinsky. Influence is everywhere and
in all types of music.
"Over the years so many different artists have influenced me and
I have been fortunate to have played with some of the real greats
including Duke Ellington and Ray Charles. In fact, I have played with
some fantastic musicians, and I am especially grateful to those who
have had the decency to stay alive and let me do so!"
So what does Michel think of today's music?
"I think the rhythms are great - alive and exciting, but the words
are mediocre and there doesn't seem to be much melody attached to
them. It bores me.
"Now, Irving Berlin and Rogers and Hammerstein - they excite me. Their
music is real, it means something to me and has stood the test of
time and is still appreciated today."
It is evident from the briefest of chats with Michel that he's witty,
ironic and a very savvy chappy. He's produced some of the most
amazing music over the years and has left his mark on the industry
in many ways.
For those of you who think you don't know his music, take a look at
the rolling credits of one of your favourite films and you may be
surprised to find his name in full Cinemascope.
Legrand and Moyet's tour includes dates at Birmingham Symphony Hall
on Monday (0121 780 3333), Bridgewater Hall in Manchester on Tuesday
(0161 907 9000), De Montfort Hall in Leicester on Thursday (0116 233
3111) and Buxton Opera House on Tuesday, February 17 (0845 127 2190).