The answer is more or less complete in Ralph Erkelenz Vol. 1 of his 'Ben-Hur: A Tale of the Score' right here in the Society main pages:



1 As explained by Miklós Rózsa in his interview with Derek Elley ‘The Film Composer’, (in Films and Filming,
May/June 1977; reprinted in PMS 27, p. 8.): ‘I give a sketch… I very much dislike the word “sketch”, because
it signifies something unfinished… I give a short score laid out on anything from two to six staves which tells
you exactly what all the departments of the orchestra do, all the harmonies, everything. My orchestrator just
saves me the enormous and time-consuming job of laying out the music in full score […]. I would challenge
anyone to hear the difference if my short score for a particular scene was given out to five orchestrators… It
must sound the same, because they cannot add anything: everything is indicated—a flute is a flute, and if I
want a flute and an oboe, I write so.’ Rózsa’s faithful orchestrator on BEN-HUR was the Hungarian composer
Eugene Zador.

Last Edited By: William D McCrum Feb 22 10 12:52 PM. Edited 2 times.