I'd agree that 'Lygia' is a great motif. I'm not sure I agree about the motivational analysis though. Taking Sienkiewicz (no, I'm not heading for my dictionary!) as the model, Lygia has more than a hormonal kick for Vinicius eventually, once she's put her feelings to the test, and Marcus, although initially inflamed erotically, develops one of those inspirational 'anima' devotions eventually, with Lygia as his muse and guide to truth. We can't count JC which has only the hint of a beautifully harmonised shade for Portia, or KoKs of course, so only BH is left to compare. The 'El Cid' love theme is also very evocative of course, but then so are 'Rowena', 'Rebecca', 'Guinevere', 'Elaine' .. and the 'Plymouth Ad' themes.

Perhaps I should modify the question to just the construction of his 'place/time' secondary motives, i.e. marches, dances, culture-specific material etc.. I do think he improved at this, with no real sign of abatement of powers.

Someone on the FSM noticeboard thought that 'Answer to a Dream' was well constructed to carry a lyric. Such a song would not be fashionable today, nor welcome to Classical purists, but I reckon he has a point. Many Rozsa themes could be given lyrics very effectively. Ironically, the only two that DID achieve songdom, namely 'Lygia' and 'The Falcon and the Dove' were given such grim tin-pan alley treatment that people would be put off. It WOULD make an interesting project for a crooner... in these days when retro songs are fashionable, (Amy Winehouse, Bryan Ferry, Sting etc..) ... a Rozsa 'song' album. It'll never happen, but one wonders what Dr. Rozsa would've made of such an idea. I think he might have indulged it.