William D McCrum wrote:
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 very much dislike the word “sketch” …

Rozsa may not have liked the term "sketch," but it's industry jargon for the original manuscript written by the composer, regardless how complete or bare.  The examples in Erkelenz' articles are mostly "piano/conductors" or "short scores," clean copies usually transcribed from the sketches, often (in the old days) on ditto or hectograph so they could be duplicated.   I think you only have to listen to Rozsa's scores during his career, whether orchestrated by himself, Zador, or others, to see the same compositional hand at work.  The main difference, to my ears, is the size of the orchestra.  What some might think of "Zador's hand" in orchestrating might owe more to the size of the MGM studio orchestra.