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Feb 21 10 1:25 AM
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Feb 21 10 2:42 AM
PercComposer wrote:I know Eugene Zador was Roza's orchestrator for many of his movies. My question is, how basic of a sketch was given to him, and how much, if any, compositional liberties was he allowed?
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Feb 21 10 6:51 AM
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Feb 23 10 9:35 AM
Feb 23 10 9:38 AM
The work of Eugene Zador can seem minor respect the Rozsa's carrier but I think that this isen't true, we can find the reasons of this in many hears of beautiful friendship and work's collaboration between Zador and Rozsa. Indeed there are reasons for this, the fact of be Hungarian, the passion for the Hungarian's music, the same University of Leipzig (Zador study under Max Reger) the professional value like musician, composer, orchestrator of Zador, that make the orchestration for 120 score and also composed different classic's work and was teacher of music. Hence if Rozsa chose Zador like collaborator for many hears we can understand also the Zador's value
Feb 23 10 10:23 AM
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Feb 23 10 4:02 PM
William D McCrum wrote: The answer is more or less complete in Ralph Erkelenz Vol. 1 of his 'Ben-Hur: A Tale of the Score' right here in the Society main pages:1 As explained by Miklós Rózsa in his interview with Derek Elley ‘The Film Composer’, (in Films and Filming,May/June 1977; reprinted in PMS 27, p. 8.): ‘I very much dislike the word “sketch” …
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Feb 25 10 2:20 AM
John Fitzpatrick wrote: The wholesale omission of "film composers"was part of the same mindset --
Feb 25 10 2:22 AM
William D McCrum wrote:It's a great sorrow that both Palmer and David Wishart, who wrote the bulk of that article are both gone far too early.
Feb 25 10 2:56 AM
William D McCrum wrote: You can hear that in the 'Battle in the Air' in Walton's 'Battle of Britain' where parts just leap out shouting 'Malcolm Arnold' who orchestrated it.
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