Frank de Wald said:

'To answer your original question, Daniel, the two Rozsa "short" scores (looking more-or-less like piano music on 2-6 staves) which I have seen and studied in depth (CID and HOOVER) are sufficiently detailed that, as Shu so perceptively put it, Zador had merely the "task" of fleshing out Rozsa's "sketches" into full orchestral scores and then creating individual orchestral parts (although others at the studio might have done that). I am sure that absolutely no "compositional liberties" were ever taken or even allowed.

.....the Rozsa-Zador team where Zador provided a service that any appropriately-trained college music major could do,'


Surely that's the crunch. We aren't really talking historical research here, since this is an art/craft that is taught in colleges everywhere, not a great mystery. Frank is trained and has seen the shortscore. He says this is a matter of what 'any appropriately trained music-major' can do.

There are cases where a composer produces very sketchy details. You can hear that in the 'Battle in the Air' in Walton's 'Battle of Britain' where parts just leap out shouting 'Malcolm Arnold' who orchestrated it. That doesn't mean however that the orchestrator has 'put his stamp' on the pieces. It rather suggests that Walton provided maybe a five-stave score and left it up to Arnold to decide whether, say, that high line over there should be a flute, or a mute trumpet, or a piccolo etc., whether that middel-range line should be a horn or a cello, that low line a tuba or whatever. But clearly Rozsa didn't do that. I've seen only some of the published concert shortscores by Rozsa from libraries, and they are very detailed, a page-full of staves with little abbrevs. telling how many of what and where etc.. And that's his concert works, where presumably Zador had no hand. 'No different.