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686:(1934). Rózsa went to see it and was greatly impressed by the opportunities the film medium offered. However, no film scoring opportunities presented themselves in Paris, and Rózsa had to support himself by reliance on a wealthy patron and by composing light music under the pseudonym Nic Tomay. It was not until Rózsa moved to
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films of the 1940s, a genre to which Rozsa himself had contributed scores. Although Rózsa's career as a composer for films ended following a stroke he suffered while on holiday in Italy later that year, he continued to compose various concert pieces thereafter; one of his last works being Sonata for
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Steven Dwight
Wescott. "Miklós Rózsa: A Portrait of the Composer as Seen Through an Analysis of His Early Works for Feature Films and the Concert Stage." Ph.D. Diss.: University of Minnesota, 1990. Wescott's dissertation, based on interviews with the composer and family archival documents, is the
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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. Best known for his nearly one hundred film scores, he nevertheless maintained a steadfast allegiance to absolute
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turned it down due to his political beliefs. Rózsa initially declined the offer, saying, "I don't do westerns." However, he agreed to compose the score after being informed, "It's not a
Western, it's an 'Eastern'." He produced a strong and varied score, which included a nightclub vocal by a
943:, about a fictional episode in the composer's early life. Zador, a fellow Hungarian immigrant and a noted composer in his own right, assisted with the orchestration of most of Rózsa's Hollywood film music. Also in 1947, Rózsa scored the music for the psychological thriller
960:, p. 159). Previous associations with Paramount and Universal had been on a picture-to-picture basis. He was able to stipulate time off for his "serious" or personal composing, the right to decline assignments, and the right to teach a course on film music at the
970:(1951) initiated the composer's historical period. For this massive production, Hollywood's most expensive film to that date, Rózsa went back to ancient Greek sources in an effort to simulate the music of antiquity. His account of this research was published in
929:, as a Shakespearean actor playing Othello, becomes murderously disturbed in his offstage life. Rózsa later adopted the title for his own memoir, signifying his desire to keep his personal music distinct from his movie career. That same year Rózsa and
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in 1887. Gyula Rózsa had inherited from his father a
Budapest shoe factory, which brought him to the capital around 1900. Like his father, and despite his landowning status, Gyula had socialist leanings, which he expressed in a pamphlet entitled
833:, 2018). Nevertheless, the film was a hit after its release in late 1945. The combination of lush melody for the romance and frenzied expressionism for the suspense scenes proved irresistible. Rózsa's pioneering (for Hollywood) use of the
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By 1952, his film score work was proving so successful that he was able to negotiate a clause in his contract with MGM that gave him three months each year away from the film studio so that he could focus on concert music.
769:, and was soon recorded in New York by RCA. The 78-rpm album became the first substantial recording of Hollywood film music. It was later recorded with Rózsa conducting the Frankenland State Orchestra of Nuremberg and
909:(1948), Hellinger, on the day before he died, asked Rózsa to replace another composer's music. Rózsa later compiled a six-movement suite of music from these three films in tribute to the producer. The
710:, who had previously urged Rózsa to come to England. While the latter film was the first to open, Rózsa always cited the more prestigious Korda project as his film debut. He joined the staff of Korda's
1124:(1979), for which Rózsa won a Science Fiction Film Award. In his televised acceptance speech, Rózsa said that, of all the film scores he had ever composed, it was the one he had worked on the hardest.
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The music earned him his first
Academy Award nomination. While Korda remained in Hollywood, Rózsa was effectively the music director of his organization. In his capacity, he supervised the scoring of
853:. Although Selznick was unhappy with the score, his innovative radio promotion of the music contributed to both the film's and the composer's success. Rózsa eventually arranged his themes as the
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had once been the kapellmeister. Rózsa emerged from these years with a deep respect for the German musical tradition, which would always temper the
Hungarian nationalism of his musical style.
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Between his violin and cello concertos, Rózsa composed his
Sinfonia Concertante, Op. 29, for violin, cello, and orchestra. The commissioning artists, Heifetz and his frequent collaborator
265:(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 citizen in 1946.
503:. During the Leipzig years he essayed a single-movement Violin Concerto and a lengthy Symphony, Op. 6. Neither work was published, and Rózsa was discouraged on a trip to Berlin when
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680:. Following a concert which featured their respective compositions, Honegger mentioned that he supplemented his income as a composer of film scores, including the film
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Rózsa's maternal uncle Lajos
Berkovits, violinist with the Budapest Opera, presented young Miklós with his first instrument at the age of five. He later took up the
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did not find time to consider the
Symphony. Rozsa suppressed both works, but eventually allowed the Symphony (minus its lost scherzo) to be recorded in 1993.
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contributed to the effect, and the attention it generated likely influenced his
Academy Award nomination. Two of his other 1945 scores were also nominated,
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has received extensive study. Roger Hickman describes it as "the last universally acknowledged score created in the classical Hollywood tradition prior to
964:. The M-G-M affiliation, which lasted until 1962, resulted in new musical approaches for the studio's output of historical romances and biblical "epics."
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878:(1946) he wrote an ominous rhythmic figure that later became famous as the "dum-da-dum-dum" signature theme of the radio and television program
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in 1925, ostensibly to study chemistry at the behest of his practical-minded father. Determined to become a composer, he transferred to the
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1328:, a fictional cousin of Rózsa's, "Jozsef Rozsa", appears as a minor character who is famous in-universe as a conductor of classical music.
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1038:, widely considered Rózsa's cinemusical masterpiece, is one of the longest film scores ever composed. Its intricate Wagnerian web of
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Jozsef Rozsa is in Berlin right now, and then he's going to Budapest...Hungarian native, cousin of Miklos Rozsa, Hollywood composer—
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was in the audience, and his approval meant more to the young composer than the presence of Habsburg royalty and the prince regent,
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Rózsa also received recognition for his choral works. His collaboration with conductor Maurice Skones and The Choir of the West at
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1143:. Rózsa later cited Resnais as one of the few directors in his experience who really understood the function of music in film.
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Young Miklós grew up in a home of enlightened values and musical culture. His only sibling, Edith, was born seven years later.
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and was introduced to classical and folk music by his mother, Regina (née Berkovits), a pianist who had studied with pupils of
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Note: The years are listed as per convention, usually the year of film release; the ceremonies are usually held the next year.
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Rózsa died on July 27, 1995, and is buried at Forest Lawn in the Hollywood Hills. His wife, Margaret, died in 1999, aged 89.
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He returned to California at the behest of his son, and remained sequestered at his home for the remainder of his life.
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Rózsa's first two published works, the String Trio, Op. 1, and the Piano Quintet, Op. 2, were issued in Leipzig by
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on October 28–29, 1937, and achieved wide exposure through a 1943 New York Philharmonic concert broadcast when
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743:(1942), and contributed at least one sequence of his own music. His own U.S. scores for Korda included
424:. Both parents were of Jewish origin. Gyula's father, Moritz Rosenberg, had changed the family name to
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from the area where his family had a country estate north of Budapest in an area inhabited by the
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1248:(1970). Rózsa's Cello Concerto, Op. 32 was written much later (1967–68) at the request of the
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For a time he remained in Leipzig as Grabner's assistant, but at the suggestion of the French
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His popular film scores during the 1970s included his last two Billy Wilder collaborations
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Lanham, Md.: Scarecrow Press, 2011. p 2). The film was Hollywood's greatest success since
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tended to suppress individualism, he sought to study music in Germany. He enrolled at the
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Double Life: The Autobiography of Miklós Rózsa, Composer in the Golden Years of Hollywood
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Double Life: The Autobiography of Miklós Rózsa, Composer in the Golden Years of Hollywood
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253:(Op. 13) of 1933, and became prominent in the film industry from such early scores as
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turned to Rózsa, whom he had admired especially for his work on the 1949 version of
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Jeffrey Dane: "A Composer's Notes: Remembering Miklós Rózsa", iUniverse (2006) –
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for narrator and orchestra, which became popular as narrated by the film's star,
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Film Music. A Neglected Art. A Critical Study of Music in Films. Second Edition.
1212:, and other leading conductors. It was first played in the United States by the
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Rózsa enjoyed a fruitful three-film collaboration with the independent producer
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Vietnamese singer, Bạch Yến. However, one cue which incorporated stanzas of "
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Rózsa was introduced to film music in 1934 by his friend, the Swiss composer
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1704:– pp. 98–179 (in this chapter, the author analyzes Rózsa's score from
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290:(1959), while his concert works were championed by such major artists as
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604: in this section. Unsourced material may be challenged and removed.
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340: in this section. Unsourced material may be challenged and removed.
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American Film Music. Major Composers, Techniques, Trends, 1915 – 1990.
1553:"American Composers Orchestra – David Raksin Remembers His Colleagues"
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as a key influence in his decision to seek a career in film music.
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a couple of other film works by Miklós Rózsa are merely mentioned)
978:). Other historical pictures from this era were set in Antiquity:
730:(1940) when the operetta-style approach of the original composer,
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Rózsa's Violin Concerto, Op. 24, was composed in 1953–54 for the
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A lawsuit eventually resulted in shared credit for Rózsa and the
780:, Rózsa scored the first of several collaborations with director
1619:
Miklós Rózsa. A Sketch Of His Life And Work. With a foreword by
1277:, resulted in a commercial recording of his sacred choral works—
452:
Hungarians. While deeply admiring the folk-based nationalism of
241:; April 18, 1907 – July 27, 1995) was a Hungarian-American
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In 1948 Rózsa signed his only long-term studio contract with
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primary source for Rózsa's family background and early life.
1152:(1981), Rózsa's last film score was for the black-and-white
1048:(1977) . . . and one of the most influential scores on the
1710:(pp. 126–130), on a few pages more, he also discusses
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Rózsa achieved early success in Europe with his orchestral
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concert music throughout what he called his "double life".
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800:. In 1944, his scores for a second Wilder collaboration,
480:. He also studied choral music with (and later assisted)
218:
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After completing work on the music for the spy thriller
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Burials at Forest Lawn Memorial Park (Hollywood Hills)
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that he was hired to compose his first film score for
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for small orchestra, Op. 10 (later greatly revised as
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the following year. There he studied composition with
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http://www.filmscoremonthly.com/notes/quo_vadis2.html
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11:2 (1951) and has been reprinted frequently since (
790:. That same year he also scored the similarly themed
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David Raksin Remembers His Colleagues: Miklós Rózsa
1624:. Breitkopf & Härtel, London, Wiesbaden (1975)
724:, brought Rózsa onto their Arabian Nights fantasy
819:to compose the score for Alfred Hitchcock's film
3358:
3392:Best Original Music Score Academy Award winners
2877:
1305:The seventh variation (after the theme) of his
1192:Rózsa's first major success was the orchestral
893:. The affair is documented in Jon Burlingame's
720:(1939). Korda and the studio's music director,
3442:University of Music and Theatre Leipzig alumni
1640:Film Score. The Art & Craft of Movie Music
1583:. New York: G. P. Putnam's Sons. p. 363.
1486:Double Life: The Autobiography of Miklós Rózsa
2863:
1822:
1424:
1255:, who premiered the work in Berlin in 1969.
268:During his Hollywood career, he received 17
3387:American people of Hungarian-Jewish descent
1798:
1488:. Tunbridge Wells: Baton Press, 1982, p. 9.
1078:", was deleted from the film's final edit.
1054:Miklós Rózsa's Ben-Hur: A Film Score Guide.
812:, both received Academy Award nominations.
526:, Op. 25). It was premiered in Budapest by
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108:
696:(1937), produced by his fellow Hungarian
664:Learn how and when to remove this message
400:Learn how and when to remove this message
69:Learn how and when to remove this message
3452:Hungarian emigrants to the United States
1431:The Virgin Encyclopedia of Popular Music
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706:(1937) for another Hungarian filmmaker,
32:This article includes a list of general
1555:. Americancomposers.org. April 18, 1907
1533:. Pytheas Center for Contemporary Music
1509:"David Raksin Remembers his Colleagues"
1020:(1956); and in the nineteenth century:
761:(1942). From the last of these emerged
431:To Whom Does the Hungarian Soil Belong?
272:nominations including three Oscars for
16:Hungarian-American composer (1907–1995)
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1573:
1462:. Miklós Rózsa Society. Archived from
829:, 2006) and especially Nathan Platte (
700:. Around the same time he also scored
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3382:20th-century Hungarian male musicians
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1838:Academy Award for Best Original Score
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1797:
1399:
1300:
815:In 1944, Rózsa was hired by producer
236:
1188:List of compositions by Miklós Rózsa
919:Rózsa received his second Oscar for
831:Making Music in Selznick's Hollywood
602:adding citations to reliable sources
573:
499:. In 1929, he received his diplomas
338:adding citations to reliable sources
309:
18:
3422:Jewish American classical composers
1656:in William Darby und Jack Du Bois:
1245:The Private Life of Sherlock Holmes
1084:The Private Life of Sherlock Holmes
13:
3417:Hungarian male classical composers
1769:Centennial Tribute to Miklos Rózsa
1608:
1224:made his famous conducting debut.
38:it lacks sufficient corresponding
14:
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1118:and the time-travel fantasy film
962:University of Southern California
3447:Varèse Sarabande Records artists
3377:20th-century classical composers
578:
314:
23:
1331:
1279:To Everything There is a Season
1167:Ondes Martenot, op. 45 (1989).
1127:For his first film in English,
1063:In 1968, he was asked to score
849:, but the Oscar was awarded to
714:, and scored the studio's epic
589:needs additional citations for
325:needs additional citations for
195:
114:Rózsa holding his Oscar at the
3412:Hungarian film score composers
1567:
1545:
1523:
1511:. American Composers Orchestra
1491:
1478:
1452:
1339:"Quo Vadis?" Film Music Notes,
1162:(1982), a comic homage to the
1:
3407:Hungarian classical composers
1392:
1348:, Seven Hills Books (1989) –
1194:Theme, Variations, and Finale
776:In 1943, now associated with
540:Theme, Variations, and Finale
305:
251:Theme, Variations, and Finale
161:Los Angeles, California, U.S.
1307:Theme, Variations and Finale
1008:(1953); in the Renaissance:
996:(1961); in the Middle Ages:
93:when mentioning individuals.
7:
2879:Saturn Award for Best Music
1758:1987 Miklós Rózsa interview
1642:, Riverwood Press (1991) –
1362:, The Baton Press (1984) –
1295:Entr'acte Recording Society
1271:Pacific Lutheran University
1100:The Golden Voyage of Sinbad
10:
3468:
1776:at SoundtrackCollector.com
1676:The Composer In Hollywood.
1632:Miklós Rózsa on Film Music
1531:"Miklós Rózsa (1907–1995)"
1214:Chicago Symphony Orchestra
1185:
1076:Onward, Christian Soldiers
1005:Knights of the Round Table
80:
3432:Male film score composers
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1159:Dead Men Don't Wear Plaid
897:(1996). The prison drama
412:Miklós Rózsa was born in
213:
205:
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174:
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107:
100:
2508:Alan and Marilyn Bergman
1763:The Life of Miklós Rózsa
1690:From 1950 to the Present
1181:
1173:
238:[ˈmikloːʃˈroːʒɒ]
89:. This article uses
81:The native form of this
3437:Composers from Budapest
1876:Erich Wolfgang Korngold
1799:Awards for Miklós Rózsa
1692:in Roy M. Prendergast:
1678:Marion Boyars (1993) –
1674:in Christopher Palmer:
1103:(1973), the latter-day
935:Nikolai Rimsky-Korsakov
53:more precise citations.
2124:Robert Russell Bennett
1312:Adventures of Superman
1290:The Twenty-Third Psalm
915:Background to Violence
913:was later recorded as
497:Breitkopf & Härtel
1341:Vol. 11, No. 2 (1951)
903:followed in 1947. On
809:The Woman of the Town
763:The Jungle Book Suite
693:Knight Without Armour
490:Johann Sebastian Bach
466:University of Leipzig
1753:Miklós Rózsa Society
1434:(Concise ed.).
1375:Életem történeteiből
1284:The Vanities of Life
940:Song of Scheherazade
911:Mark Hellinger Suite
787:Five Graves to Cairo
598:improve this article
470:Leipzig Conservatory
334:improve this article
3427:MGM Records artists
3199:James Newton Howard
2700:Gustavo Santaolalla
2694:Gustavo Santaolalla
2688:Jan A. P. Kaczmarek
1784:Syracuse University
1780:Miklós Rózsa Papers
1660:McFarland (1990) –
1438:. pp. 1042/3.
1370:(Softcover edition)
954:Metro-Goldwyn-Mayer
855:Spellbound Concerto
752:That Hamilton Woman
727:The Thief of Bagdad
703:Thunder in the City
570:Film scoring career
505:Wilhelm Furtwängler
462:Franz Liszt Academy
262:The Thief of Bagdad
170:Composer, conductor
116:18th Academy Awards
3056:Angelo Badalamenti
2793:Hildur Guðnadóttir
2249:Richard M. Sherman
1686:– pp. 186–233
1668:– pp. 307–344
1615:Christopher Palmer
1377:(Discussions with
1301:In popular culture
1275:Tacoma, Washington
1264:Tema con Variazoni
1260:Gregor Piatigorsky
1058:Gone with the Wind
933:arranged music by
846:A Song to Remember
740:To Be or Not to Be
524:Hungarian Serenade
296:Gregor Piatigorsky
188:Margaret Finlason
91:Western name order
3354:
3353:
3348:
3347:
3286:Michael Giacchino
3238:Michael Giacchino
3021:Christopher Young
2845:
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2830:Volker Bertelmann
2781:Alexandre Desplat
2763:Alexandre Desplat
2718:Michael Giacchino
2676:Elliot Goldenthal
2356:
2253:Robert B. Sherman
1894:W. Franke Harling
1222:Leonard Bernstein
1149:Eye of the Needle
925:(1947), in which
895:TV's Biggest Hits
827:Hitchcock's Music
817:David O. Selznick
717:The Four Feathers
674:
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564:Leonard Bernstein
538:. The subsequent
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256:The Four Feathers
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175:Years active
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2787:Ludwig Göransson
2706:Dario Marianelli
2611:Stephen Schwartz
2536:Ryuichi Sakamoto
2427:Leonard Rosenman
2417:Leonard Rosenman
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1937:Bernard Herrmann
1886:Herbert Stothart
1864:Leo F. Forbstein
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1650:, pp. 18–32
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972:Film Music Notes
840:The Lost Weekend
803:Double Indemnity
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2443:Giorgio Moroder
2437:Jonathan Tunick
2423:Jerry Goldsmith
2403:Carmine Coppola
2393:Marvin Hamlisch
2389:Marvin Hamlisch
2371:Charlie Chaplin
2349:George Harrison
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2106:Dimitri Tiomkin
2096:Bronislau Kaper
2086:Dimitri Tiomkin
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1941:Frank Churchill
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1379:János Sebestyén
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1097:fantasy sequel
1095:Ray Harryhausen
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891:Walter Schumann
859:Jerry Goldsmith
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758:The Jungle Book
698:Alexander Korda
678:Arthur Honegger
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1337:Miklós Rózsa:
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1287:, Op. 30; and
1236:Jascha Heifetz
1210:Hans Swarowsky
1186:Main article:
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1354:0-85936-209-4
1351:
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1253:János Starker
1251:
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1241:
1237:
1234:
1229:
1225:
1223:
1219:
1215:
1211:
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1203:
1199:
1198:Charles Munch
1195:
1189:
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1155:
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1140:Madame Bovary
1136:
1135:Alain Resnais
1132:
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1052:generation" (
1051:
1047:
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1041:
1037:
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1031:
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1029:Lust for Life
1025:
1024:
1023:Madame Bovary
1019:
1018:
1013:
1012:
1007:
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1001:
1000:
995:
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993:King of Kings
989:
988:
983:
982:
981:Julius Caesar
977:
973:
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968:
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959:
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950:
948:
947:
946:The Red House
942:
941:
937:for the film
936:
932:
928:
927:Ronald Colman
924:
923:
922:A Double Life
917:
916:
912:
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882:
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836:
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828:
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799:
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789:
788:
783:
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773:as narrator.
772:
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632:
629:
625:
622:
618:
615: –
614:
610:
609:Find sources:
603:
599:
593:
592:
587:This section
585:
581:
576:
575:
567:
565:
561:
557:
553:
549:
545:
544:Charles Munch
541:
537:
536:Miklós Horthy
533:
529:
528:Ernő Dohnányi
525:
521:
517:
514:and composer
513:
508:
506:
502:
498:
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459:
458:Zoltán Kodály
455:
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382:
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351: –
350:
346:
345:Find sources:
339:
335:
329:
328:
323:This section
321:
317:
312:
311:
303:
301:
300:János Starker
297:
293:
289:
288:
283:
282:
281:A Double Life
277:
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271:
270:Academy Award
266:
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167:Occupation(s)
165:
154:July 27, 1995
153:
149:
145:(now Hungary)
143:
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83:personal name
73:
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62:
52:
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35:
30:
21:
20:
3341:
3321:Danny Elfman
3294:Marc Shaiman
3254:Frank Ilfman
3246:Danny Elfman
3211:James Horner
3159:Howard Shore
3151:Danny Elfman
3135:James Horner
3116:Danny Elfman
3100:Danny Elfman
3092:Danny Elfman
3072:Howard Shore
3064:Danny Elfman
2981:James Horner
2938:Miklós Rózsa
2937:
2910:David Raksin
2902:Miklós Rózsa
2901:
2814:Atticus Ross
2810:Trent Reznor
2757:Steven Price
2739:Atticus Ross
2735:Trent Reznor
2712:A. R. Rahman
2682:Howard Shore
2670:Howard Shore
2627:James Horner
2603:Luis Bacalov
2474:Michael Gore
2447:Joe Renzetti
2301:Johnny Green
2267:Irwin Kostal
2257:Andre Previn
2243:Andre Previn
2239:John Addison
2233:Ray Heindorf
2223:Irwin Kostal
2215:Johnny Green
2211:Saul Chaplin
2201:Harry Sukman
2172:Andre Previn
2168:Miklos Rozsa
2167:
2162:Andre Previn
2138:Victor Young
2128:Jay Blackton
2114:Saul Chaplin
2080:Saul Chaplin
2076:Johnny Green
2072:Franz Waxman
2058:Franz Waxman
2023:Johnny Green
2009:Miklos Rozsa
2008:
1989:Miklos Rozsa
1988:
1969:Ray Heindorf
1955:Ray Heindorf
1898:John Leipold
1774:Miklós Rózsa
1744:Miklós Rózsa
1717:
1711:
1705:
1693:
1689:
1675:
1672:Miklós Rózsa
1671:
1657:
1654:Miklós Rózsa
1653:
1639:
1631:
1628:Miklós Rózsa
1627:
1618:
1596:
1594:
1578:
1569:
1557:. Retrieved
1547:
1535:. Retrieved
1525:
1513:. Retrieved
1503:
1493:
1485:
1480:
1468:. Retrieved
1464:the original
1454:
1436:Virgin Books
1429:
1426:Colin Larkin
1374:
1359:
1345:
1338:
1332:Bibliography
1323:
1317:
1310:
1306:
1304:
1288:
1282:
1278:
1268:
1263:
1257:
1243:
1240:Billy Wilder
1230:
1226:
1206:Bruno Walter
1193:
1191:
1177:
1169:
1163:
1157:
1154:Steve Martin
1147:
1145:
1138:
1128:
1126:
1119:
1116:Roy Scheider
1111:Last Embrace
1109:
1104:
1098:
1093:(1978), the
1088:
1082:
1080:
1064:
1062:
1057:
1053:
1049:
1043:
1035:
1034:
1027:
1021:
1015:
1009:
1003:
997:
991:
985:
979:
971:
965:
957:
951:
944:
938:
931:Eugene Zador
920:
918:
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867:
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854:
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826:
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807:
801:
795:
785:
782:Billy Wilder
775:
762:
756:
750:
744:
738:
736:
732:Oscar Straus
725:
715:
712:London Films
701:
691:
681:
675:
660:
651:
641:
634:
627:
620:
608:
596:Please help
591:verification
588:
560:Bruno Walter
539:
523:
519:
516:Marcel Dupré
509:
500:
494:
486:Thomaskirche
482:Karl Straube
435:
430:
425:
411:
396:
387:
377:
370:
363:
356:
344:
332:Please help
327:verification
324:
285:
284:(1947), and
279:
273:
267:
260:
254:
250:
248:
230:Miklós Rózsa
229:
228:
156:(1995-07-27)
102:Miklós Rózsa
95:
87:Rózsa Miklós
86:
65:
56:
37:
3372:1995 deaths
3367:1907 births
3262:Hans Zimmer
3230:Hans Zimmer
3203:Hans Zimmer
3191:Alan Menken
3183:John Ottman
3084:John Ottman
3048:Loek Dikker
3005:Alan Menken
2824:Hans Zimmer
2818:Jon Batiste
2631:Anne Dudley
2607:Alan Menken
2597:Hans Zimmer
2585:Alan Menken
2579:Alan Menken
2556:Alan Menken
2550:Dave Grusin
2540:David Byrne
2457:Ralph Burns
2383:Ralph Burns
2353:Ringo Starr
2341:John Lennon
2336:The Beatles
2332:Francis Lai
2193:Ernest Gold
2066:Roger Edens
2037:Roger Edens
2027:Roger Edens
1975:Max Steiner
1951:Max Steiner
1858:Max Steiner
1636:Tony Thomas
1575:Clancy, Tom
1537:October 27,
1460:"Biography"
1266:, Op. 29a.
1087:(1970) and
1026:(1949) and
1014:(1953) and
1002:(1952) and
990:(1959) and
958:Double Life
900:Brute Force
875:The Killers
755:(1941) and
708:Ákos Tolnay
552:Georg Solti
454:Béla Bartók
418:Franz Liszt
259:(1939) and
219:miklosrozsa
51:introducing
3361:Categories
2957:John Barry
2573:John Barry
2524:John Barry
2500:Bill Conti
2297:John Barry
2277:Ken Thorne
2273:John Barry
1902:Leo Shuken
1580:Red Rabbit
1393:References
1325:Red Rabbit
1320:Tom Clancy
1281:, Op. 20;
1218:Hans Lange
1130:Providence
1040:leitmotifs
1011:Young Bess
889:composer,
863:Spellbound
851:Spellbound
822:Spellbound
806:, and for
624:newspapers
422:folk music
360:newspapers
306:Early life
275:Spellbound
234:Hungarian:
130:1907-04-18
59:March 2012
34:references
3331:(2022/23)
3323:(2021/22)
3304:(2019/20)
3296:(2018/19)
3031:(1989/90)
2904:(1974/75)
2399:Nino Rota
2291:Ken Darby
2219:Sid Ramin
2176:Ken Darby
2146:Ken Darby
1707:Quo Vadis
1515:March 11,
1470:March 11,
1297:in 1978.
1233:violinist
1202:Karl Böhm
1164:film noir
1114:starring
1106:film noir
1050:Star Wars
1045:Star Wars
967:Quo Vadis
778:Paramount
654:July 2018
548:Karl Böhm
501:cum laude
478:Max Reger
446:folksongs
390:July 2018
178:1918–1989
2480:Vangelis
1577:(2002).
1559:March 7,
1133:(1977),
1069:, after
1032:(1956).
984:(1953),
835:theremin
771:Leo Genn
749:(1940),
520:Serenade
512:organist
488:, where
414:Budapest
278:(1945),
243:composer
206:Children
138:Budapest
2664:Tan Dun
2544:Cong Su
1597:Ben Hur
1484:Rózsa,
1318:In the
1250:cellist
1036:Ben-Hur
999:Ivanhoe
987:Ben-Hur
887:Dragnet
881:Dragnet
638:scholar
484:at the
374:scholar
287:Ben-Hur
214:Website
200:
192:
47:improve
3288:(2017)
3280:(2016)
3272:(2015)
3264:(2014)
3256:(2013)
3248:(2012)
3240:(2011)
3232:(2010)
3213:(2009)
3205:(2008)
3193:(2007)
3185:(2006)
3177:(2005)
3169:(2004)
3161:(2003)
3153:(2002)
3145:(2001)
3137:(2000)
3118:(1999)
3110:(1998)
3102:(1997)
3094:(1996)
3086:(1995)
3066:(1993)
3058:(1992)
3050:(1991)
3023:(1988)
3015:(1987)
3007:(1986)
2999:(1985)
2991:(1984)
2983:(1983)
2975:(1982)
2967:(1981)
2959:(1980)
2940:(1979)
2932:(1978)
2924:(1977)
2912:(1976)
2896:(1973)
2838:(2023)
2832:(2022)
2826:(2021)
2820:(2020)
2795:(2019)
2789:(2018)
2783:(2017)
2777:(2016)
2771:(2015)
2765:(2014)
2759:(2013)
2753:(2012)
2747:(2011)
2741:(2010)
2720:(2009)
2714:(2008)
2708:(2007)
2702:(2006)
2696:(2005)
2690:(2004)
2684:(2003)
2678:(2002)
2672:(2001)
2666:(2000)
2649:(1999)
2643:(1998)
2633:(1997)
2623:(1996)
2613:(1995)
2599:(1994)
2593:(1993)
2587:(1992)
2581:(1991)
2575:(1990)
2558:(1989)
2552:(1988)
2546:(1987)
2532:(1986)
2526:(1985)
2520:(1984)
2518:Prince
2510:(1983)
2496:(1982)
2482:(1981)
2476:(1980)
2459:(1979)
2449:(1978)
2439:(1977)
2429:(1976)
2419:(1975)
2409:(1974)
2395:(1973)
2385:(1972)
2367:(1971)
2357:(1970)
2317:(1969)
2303:(1968)
2293:(1967)
2279:(1966)
2269:(1965)
2259:(1964)
2245:(1963)
2235:(1962)
2225:(1961)
2203:(1960)
2178:(1959)
2164:(1958)
2154:(1957)
2148:(1956)
2134:(1955)
2116:(1954)
2102:(1953)
2092:(1952)
2082:(1951)
2068:(1950)
2043:(1949)
2029:(1948)
2015:(1947)
2005:(1946)
1995:(1945)
1985:(1944)
1971:(1943)
1961:(1942)
1947:(1941)
1933:(1940)
1904:(1939)
1882:(1938)
1872:(1937)
1866:(1936)
1860:(1935)
1854:(1934)
1730:
1700:
1682:
1664:
1646:
1587:
1442:
1385:
1366:
1352:
1322:novel
1216:under
1090:Fedora
872:. For
861:cited
797:Sahara
688:London
640:
633:
626:
619:
611:
376:
369:
362:
355:
347:
298:, and
183:Spouse
118:(1946)
36:, but
3313:2020s
3222:2010s
3127:2000s
3040:1990s
2949:1980s
2886:1970s
2803:2020s
2728:2010s
2657:2000s
2566:1990s
2467:1980s
2325:1970s
2186:1960s
2051:1950s
1912:1940s
1845:1930s
1765:essay
1182:Works
1174:Death
1156:film
1017:Diane
794:film
746:Lydia
645:JSTOR
631:books
450:Palóc
442:piano
438:viola
426:Rózsa
381:JSTOR
367:books
194:(
190:
3201:and
3076:1994
2816:and
2737:and
2609:and
2542:and
2492:and
2401:and
2377:and
2351:and
2313:and
2289:and
2251:and
2221:and
2199:and
2174:and
2144:and
2130:and
2112:and
2078:and
2064:and
2039:and
2025:and
1981:and
1957:and
1943:and
1925:and
1900:and
1748:IMDb
1728:ISBN
1716:and
1698:ISBN
1680:ISBN
1662:ISBN
1644:ISBN
1630:and
1585:ISBN
1561:2012
1539:2013
1517:2012
1472:2012
1440:ISBN
1383:ISBN
1364:ISBN
1350:ISBN
843:and
767:Sabu
617:news
562:and
456:and
440:and
353:news
221:.org
151:Died
124:Born
1782:at
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2126:,
2122:/
2108:/
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2074:/
2060:/
2035:/
2021:/
2011:/
2001:/
1991:/
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1967:/
1953:/
1939:/
1929:/
1921:,
1896:,
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