You Must Believe in Spring (La Chanson de Maxence from the film Les Demoiselles de Rochefort) Cover Image

You Must Believe in Spring (La Chanson de Maxence from the film Les Demoiselles de Rochefort): Full Orchestra Conductor Score

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You Must Believe in Spring (La Chanson de Maxence from the film Les Demoiselles de Rochefort) Cover Image

You Must Believe in Spring (La Chanson de Maxence from the film Les Demoiselles de Rochefort): Full Orchestra Conductor Score

By Michel Legrand / arr. Mike Lewis

Grade: 4

Item: 36-A863101

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Description
The music of Michel Legrand possesses an inherent loveliness that is enhanced by the harmonic touch of Mike Lewis. Exquisitely beautiful, this is from the film "Les Demoiselles de Rochefort." It is an ideal change of pace and programming. Each measure is a pearl of inestimable beauty. A Mike Lewis arrangement for string orchestra is also available from the publisher. Instrumentation: 3.1+EH.2+BCl.2: 4.3.3.1: Perc(2): Str (9-8-7-6-5 in set).

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Additional Details
Series: Kalmus Symphonic Pops
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852388-X
ISBN13: 979-8-88-852388-9
UPC: 654690545152
SKU: 36-A863101
Instrumentation: 3.1+EH.2+BCl.2: 4.3.3.1: Perc(2): Str (9-8-7-6-5 in set)

More about this title

About the Composer: Michel Legrand

Michel Legrand (1932-2019) was a French composer and pianist whose gift for melody and orchestral color made him one of the most recorded composers of the twentieth century. His work in film scoring earned him three Academy Awards and established him as a master of romantic, lyrical writing for orchestra. Legrand's ability to craft unforgettable tunes while maintaining sophisticated harmonic language made his music equally at home in concert halls and cinema.

Why we love this

This arrangement captures the wistful elegance of Legrand's original writing while giving your full orchestra a chance to play genuinely beautiful music that rewards both ensemble precision and expressive phrasing. At Grade 4, the orchestration is sophisticated without becoming unwieldy, and the balanced texture allows each section to contribute something meaningful to the overall sound. Programming this piece signals to your audience that this concert includes music that nourishes as much as it entertains.

What to expect

Warmth and gentle optimism permeate this score. The orchestration unfolds with the kind of cinematic grace that makes you hear every instrument as part of a larger, cohesive tapestry. There is genuine tenderness here, and moments of quiet beauty that remind listeners why orchestral music, at its best, speaks directly to the heart.

Who it's for

Orchestras at the Grade 4 level seeking repertoire that combines artistic substance with accessibility. Conductors programming pops concerts, community orchestras, or school ensembles will find this piece ideal for audiences who appreciate melody and orchestral color without the complexity of contemporary classical writing.

How to get the most out of it

  • Shape the melodic line with attention to the film's emotional arc; this music is cinematic, so think in terms of visual storytelling rather than purely instrumental technique.
  • Balance the string section carefully so that inner voices remain transparent, especially when the woodwinds carry countermelodies or harmonic color.
  • Secure rhythmic clarity in the percussion parts early in rehearsal; they anchor the ensemble's forward motion without intruding on the lyrical quality.
  • Allow rubato in phrases without letting it become mannered; Legrand's harmonies are rich enough to support subtle give-and-take in tempo.

How to use it

Use this as the centerpiece of a pops or light classical program, where it can stand alongside other accessible orchestral favorites. Its moderate length and lyrical character make it an excellent choice for family concerts, spring season closings, or any program that needs a piece of genuine emotional substance without demanding technical heroics from your ensemble.

Skills your students will build

  • Sustained legato playing across long phrases
  • Balance and transparency in multi-part orchestral textures
  • Reading and performing cinematic rubato
  • Coordination of melody, harmony, and accompaniment across sections

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