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Jul 22, 2020 · Throughout his career, Miklós Rózsa led an artistic “double life” between concert music and film scoring. On Monday, we heard Rózsa’s high-flying Violin Concerto. Now, let’s listen to excerpts from eight of his most celebrated film scores: Ben-Hur (1959)
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 ...
The “Rózsa sound” most associated with the MGM period of his career is the richly orchestrated, beautifully layered scores for spectacles such as “Quo Vadis” (1951), “Ivanhoe” (1952), “Julius Caesar” (1953), “Knights of the Round Table” (1953), “Ben-Hur” (1959), “King of Kings” (1961), “El Cid” (1961) and many more.
May 22, 2018 · Most notable were the scores written by Miklós Rózsa for Spellbound (Hitchcock, 1945) and The Lost Weekend (Billy Wilder, 1945). In these films the theremin is utilized for its destabilizing effect (owing to the inherent dissonance of the instrument’s wavering tone), moaning and shrieking whenever the lead characters are shown suffering a ...
Nov 28, 2020 · Chilling. The most devastating scene is the final meeting between Neff and Phyllis, which musically bookends their relationship. Rózsa digs into his romantic theme here, the sumptuous strings...
The sound of the instrument is often associated with eerie situations. The theremin has been used in movie soundtracks such as Miklós Rózsa 's Spellbound and The Lost Weekend , Bernard Herrmann 's The Day the Earth Stood Still , and Justin Hurwitz 's First Man , as well as in theme songs for television shows such as the ITV drama Midsomer ...
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Rózsa’s music for the legend of Rodrigo Díaz de Vivar is endlessly thematic: the score’s closely knit ideas are reverent toward the titular hero, fiercely romantic for the love story between The Cid and Lady Chimene, and climactically aggressive for the film’s grand-scale battle sequences.
