Quote:
Perhaps you are referring to cases where Rozsa wrote the long score himself without an intermediary short score?


I was thinking of the concert scores as opposed to cinema.

I don't think numbers of violins is merely a matter of budget. Six violins has a different feel to 20. In any passage one can use as many as is apt. If you're down to two staves I just don't know how they do it. I think people like John Morgan often have to build up reconstructions from just three or five line scores, and one has the impression from their notes on CDs it can be a tough task.

If Avie's right about Zador ceasing in '63, then 'Sodom and Gomorrah' was presumably a purely Rozsa orchestrated score. That's interesting, because there is a certain 'feel' to the later scores. Maybe his orchestrations are more sparse later? The V.I.P.s was arguably over-lush. I think for example, he used woodwind more often than a solo violin later.

An interesting contrast is to compare 'Memories' on the Frankenland BH, with its equivalent 'A Ring for Freedom' on the OST or Decca. One tends towards woodwind, the other to violin solo, yet they are essentially the same piece. On a three-line, wouldn't the two look sort of identical apart from the abbrevs. at the staveside? Maybe Rozsa on LP was more 'himself' than when reacting to the visuals ... or letting Eugene loose? The Frankenland is to me by far the better of the two pieces in terms of colour, but the string version probably better intuitively reflects the sentimental nature of the scene.