Here's a thought.

We tend to think of B-H as Rozsa's masterpiece of the 'epic' genre, and it surely is. But if you look at 'El Cid', 'King of Kings' and 'Sodom and Go' I would venture that his masterful skill at melodic 'appropriate/evocative' invention IMPROVED with each movie. Take the Roman Marches: okay, he'd already come up with two gems for 'Quo Vadis?' but the stuff in B-H is transcended in terms of thematic structure in his two 'King of Kings' marciae Romanae, ('Roman Legions' and 'Pilate's Arrival') and here in 'Sodom' we have love themes that are easily the two best in his 'ancient' output. I think he went on improving. Had the movies done the same, he'd 've been in demand in that fallow decade of the late 60s/early 70s. I don't say those scores were superior to BH at all, partly because the films were inferior and edited differently ... but his material didn't pale at all.

So who thinks his 'peak' at BH was no peak at all, but might've been a plateau on the way up, had cinema not changed?