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Miklos Rózsa Interview - 1982. Regarded for more than forty years as one of the absolute masters of music in cinema, Miklós Rózsa is also one of the most outstanding composers of this century.
Miklós Rózsa (Hungarian: [ˈmikloːʃ ˈroːʒɒ]; April 18, 1907 – July 27, 1995) [1] was a Hungarian-American composer trained in Germany (1925–1931) and active in France (1931–1935), the United Kingdom (1935–1940), and the United States (1940–1995), with extensive sojourns in Italy from 1953 onward. [2] Best known for his nearly ...
Dec 1, 2001 · Nor did many of them deserve it: most of the musicians who wrote film scores in the 30’s were true hacks, and their work was as utilitarian and unmemorable as the movies it adorned. 2 With the sole exception of the Vienna-born Erich Wolfgang Korngold, who like Rózsa had distinguished himself on the European classical-music scene long before moving to America, Rózsa found his new colleagues ...
Jul 22, 2020 · It may be even worse today, the use of what in Hollywood is called wall-to-wall music, but even then many producers and directors did not understand the importance of silence.-Miklós Rózsa. Recordings. Ben-Hur (complete film score), Nic Raine, The City of Prague Philharmonic Orchestra and Chorus Amazon; Miklós Rózsa: A Centenary Celebration ...
Rózsa achieved early success in Europe with his orchestral Theme, Variations, and Finale (Op. 13) of 1933, and became prominent in the film industry from such early scores as The Four Feathers (1939) and The Thief of Bagdad (1940). The latter project brought him to Hollywood when production was transferred from wartime Britain, and Rózsa remained in the United States, becoming an American ...
Jul 28, 1995 · Rozsa was a former president of the National Assn. for American Composers and Conductors, which had honored him with its citation of merit for outstanding services to American music. The composer ...
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Jun 1, 2022 · Rózsa became best known for epics—sprawling odysseys to other cultures, from the ancient Rome of Quo Vadis (1951) and Ben-Hur (1959) and King of Kings (1961), to the ancient Spain of El Cid (1961). These inspired equally grand, tuneful scores that fused a romantic Hollywood symphony with folk instruments from the time and place of each story, which the composer reveled in researching.
