Intermediate
I Will Wait For You
3:26
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Browse piano sheets by Michel Legrand on Zen Virtual Piano. Michel Legrand has said, “So on the lousy piano that my father forgot to take with him, I found the melodies and then I found the harmonies and I’d reconstruct the songs.” He was born in the Paris suburb of Bécon-les-Bruyères into a family with strong musical connections: his father, Raymond Legrand, was a composer, conductor and former pupil of Gabriel Fauré, and his maternal uncle was the dance-band saxophonist and bandleader Jacques Hélian. A piano left behind in a flat and a family of musicians give the start of his story a plain instrument and a deep inheritance. He became obsessed with the music and life of Franz Schubert and, with Nadia Boulanger among his teachers, won a raft of prizes on a variety of instruments at the Paris Conservatoire, which he began attending in 1942. Nadia Boulanger among his teachers and a raft of Conservatoire prizes put a classical training under everything that followed. A Paris concert by the bebop trumpeter Dizzy Gillespie and his big band thrilled him with the sound of jazz, and in the 1950s he was an arranger for famous singers, including Maurice Chevalier and Jacques Brel. He burst upon the international music scene when his 1954 album I Love Paris became a surprise hit, and in 1958 he hired Miles Davis, John Coltrane and Bill Evans for his Legrand Jazz session. Arranging for singers, a hit album and a jazz session with three named players show a musician working in several roles. A concert in Paris and a session with three jazz names mark a straight line from listener to leader. In the 1960s he wrote music for important films by French new wave directors, including Godard, Jacques Demy and Agnès Varda, and for films such as The Umbrellas of Cherbourg (1964) and Les Demoiselles de Rochefort (1967). “The Windmills of Your Mind,” sung by Noel Harrison in The Thomas Crown Affair (1968), won his first Oscar, for best film theme song, in 1969, and The Summer of ’42 brought another for best film music two years later. Work with Godard, Demy and Varda places a composer from the Conservatoire among the directors of the French new wave. He said, “When I hit 80, I knew that the last chapter of my work would be classical. So I wrote a piano concerto that I recorded myself, a cello concerto, a harp concerto, some sonatas. I wrote a huge ballet. I’m very proud of that. It’s a good final chapter.” A last chapter planned as classical music shows a career that he thought of in chapters.
Browse piano sheets by Michel Legrand on Zen Virtual Piano.
Michel Legrand has said, “So on the lousy piano that my father forgot to take with him, I found the melodies and then I found the harmonies and I’d reconstruct the songs.” He was born in the Paris suburb of Bécon-les-Bruyères into a family with strong musical connections: his father, Raymond Legrand, was a composer, conductor and former pupil of Gabriel Fauré, and his maternal uncle was the dance-band saxophonist and bandleader Jacques Hélian. A piano left behind in a flat and a family of musicians give the start of his story a plain instrument and a deep inheritance.
He became obsessed with the music and life of Franz Schubert and, with Nadia Boulanger among his teachers, won a raft of prizes on a variety of instruments at the Paris Conservatoire, which he began attending in 1942. Nadia Boulanger among his teachers and a raft of Conservatoire prizes put a classical training under everything that followed.
A Paris concert by the bebop trumpeter Dizzy Gillespie and his big band thrilled him with the sound of jazz, and in the 1950s he was an arranger for famous singers, including Maurice Chevalier and Jacques Brel. He burst upon the international music scene when his 1954 album I Love Paris became a surprise hit, and in 1958 he hired Miles Davis, John Coltrane and Bill Evans for his Legrand Jazz session. Arranging for singers, a hit album and a jazz session with three named players show a musician working in several roles. A concert in Paris and a session with three jazz names mark a straight line from listener to leader.
In the 1960s he wrote music for important films by French new wave directors, including Godard, Jacques Demy and Agnès Varda, and for films such as The Umbrellas of Cherbourg (1964) and Les Demoiselles de Rochefort (1967). “The Windmills of Your Mind,” sung by Noel Harrison in The Thomas Crown Affair (1968), won his first Oscar, for best film theme song, in 1969, and The Summer of ’42 brought another for best film music two years later. Work with Godard, Demy and Varda places a composer from the Conservatoire among the directors of the French new wave. He said, “When I hit 80, I knew that the last chapter of my work would be classical. So I wrote a piano concerto that I recorded myself, a cello concerto, a harp concerto, some sonatas. I wrote a huge ballet. I’m very proud of that. It’s a good final chapter.” A last chapter planned as classical music shows a career that he thought of in chapters.
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Common questions
“The Windmills of Your Mind” from The Thomas Crown Affair won his first Oscar, for best film theme song, in 1969, and The Summer of ’42 earned another for best film music two years later; he won three Oscars in all.
Nadia Boulanger was among his teachers at the Paris Conservatoire, which he began attending in 1942.
He said that at 80 he knew his last chapter would be classical, and he wrote a piano concerto, a cello concerto, a harp concerto, some sonatas and a huge ballet.