Always glad to be controversial ...

That Mant was a friend of Rozsa's is a fact. But Rozsa apparently denounced many, I think it's safe enough to say, more serious actual composers. One might deduce then that it was his sense of loyalty that over-rode such a classification ....

As regards Zador, he was, after all, Rozsa's orchestrator. It could be argued that he had quite an input in terms of orchestral colour, supervised though he was, in all his film material. A lot of what we think of as Rozsa may be partly Zador. This isn't trivial, if we are to do him justice. The orchestral colour in Rozsa's concert works is different from the very primal colour in his film scores. Sometimes this is due to the solo instrumental colour of concertos etc.. But there's a different way with the orchestra that suggests to me that Zador's work was significant in the Rozsa 'sound'.

The 'Zhivago' rework album was Pye/EMI mfp 1200 from 1966, with the Metropolitan Pops. It differs considerably from the MGM album with ten pieces edited and simplified in more or less the same way that Ernest Gold reworked his original 'Exodus' for the London album. Not a great performance, but often more classical in terms of harmonies etc. than the OST, and of course with a lot less balalaika. More echoey. I haven't played it in ages, but it's as much Nicolai as Jarre. I don't say it's better, and it's not as original.

Julius Caesar ... I always assumed Herrmann had reworked the suite. 'Ides of March' has much larger orchestra. The Finale march is neither that in the OST nor the one for concert used by Silva or Eidelman. Certainly he CONDUCTS it in his fatalistic lumbering way, very slowly. I always thought 'Caesar's Ghost' a very Herrmannesque re-write, simplified and repetitive and slow. I'm happy to be corrected, but it all sounds as Herrmann as Rozsa to me.

It's true that tomorrow's editors will indeed be flying blind, but they will anyhow.