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Score CV Makes Legrand Le Great

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  • Score CV Makes Legrand Le Great

    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).
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