I always meant to ask (it's trivial, but interesting) about the slight difference between the Rome OST 'Overture' from 'S&G' and the Prague reperformance by Silva.

At 1.19 on the Prague, there is a semitone up-pointing of the chord that is at 1.14 on the OST. (I THINK that's where it is.) I think this works splendidly, and sounds so like Miklos Rozsa. It could've been a modification by Mr. Alwyn or the Silva team I suppose. Then again it may have been a righted ambiguity in the sheets or a return to an original cross-out etc.. Whatever, it works, adds poignancy.

This begs the question of whether folk think conductors/arrangers etc. should sometimes 'improve' small sections of scores... as in Gerhardt adding chorals to the 'Song of the Jungle' or the wonderful revampings of the 'Ivanhoe' score by Messrs. Broughton and Fake and Robbins etc.. These examples do work.

And what of the bigger picture? We tend to think of reworkings as in the hack Mantovani/ Rose vein for musack albums, but what if composers/ orchestrators with lots of real clout and talent, like Zador were to rework Rozsa's ideas? Would this dilute the work, or give it new life? Bruno Nicolai re-did a whole album of Jarre's 'Dr. Zhivago' for example. I'm not speaking here of LeRoy Holmes-ish lightenings but re-interpretations by people who know. Herrmann reworked 'Julius Caesar' of course, and there were the reduced 'Ben-Hur' albums by 'Norman Maine' and 'Jean Baitzouroff'. Palmer of course made marginal changes with Rozsa's consent to many pieces.