And I believe this misleading subject was the cause of not only some sort of lawsuit or legal rectification at least, brought about by Rozsa, but also the start of a rift between the two men. Zador didn't work again as MR's orchestrator after this book appeared, and of course by then he had stopped writing for films on any regular basis.

Mind you, it had indeed been an impressive working relationship for 25 years, and one imagines the composer felt his valued scores were in Zador's good and safe hands once he had passed them on for orchestrating, copying, arranging and generally being put into final order for the finished state ready for the recording stage.

I remember talking often to Christopher about this same process in the '70s as he laboured long and hard on all those last scores Rozsa produced; he found the relationship a highly fruitful one musically; admitted he learnt so much (also of course with his long, concurrent working-friendship with Herrmann) - and felt really honoured to be in on the creation of such important film music being fit to the visuals. Anyone who witnessed him with Rozsa in the recording studios (as I was priveleged to have often done) could sense a magical musical bonding between the two men, and it was very apparent the composer very much appreciated the job Palmer was achieving to iron out any mistakes in the scores with the musicians and generally produce the sessions to a high degree of sensibility.

This was the value of Palmer to Rozsa; earlier it had similarly been the value of Zador. In that way it seems plain that Rozsa had been most fortunate in his film collaborators.