Miklós Rózsa at M-G-M: A Chronology

Miklós Rózsa served as a contract composer at M-G-M from 1948 to 1962. Adding two more films (The V.I.P.s and The Power) scored on a freelance basis, and taking a handful of “loan out” projects into consideration, M-G-M served as Rózsa’s exclusive cinematic home for 20 years. This represents the prime of his career and saw the creation of most of his greatest works. The following is an annotated list of all of his projects for the studio, from the date he officially began work on July 15, 1948 through the end of The Power, scored in late 1967.

Command Decision (1948)
Rózsa’s first film at M-G-M was this adaptation of a Broadway play about behind-the-scenes decision-making in World War II. Clark Gable starred, with Sam Wood directing. No recordings survive from Rózsa’s original score, which totaled less than a half-hour of music. Recorded October 25, 26, November 3 and 16, 1948.
Kiss the Blood Off My Hands (1948)
This film noir starring Burt Lancaster was not an M-G-M film but rather the last picture Rózsa scored to conclude a contract with Universal. M-G-M coordinated with Universal to account for the time (22 days) Rózsa needed to score the film during the latter half of 1948.
The Bribe (1949)
One of Rózsa’s last film noir projects was this thriller starring Robert Taylor, Ava Gardner, Charles Laughton and Vincent Price. Only one 0:22 cue survives from the recording sessions—a fragment of a non-Rózsa source cue. Recorded December 28, 29, 1948 and January 3 and 6, 1949.
Edward, My Son (1949)
Rózsa wrote and recorded four uncredited cues (“Lord Boult,” “Love Affair,” “Intro: Love Affair & Meet the Bride” and “Ten Years Old”—respectively 1M1, 7M1, 7M2 and 12M1) in Culver City to replace and/or supplement portions of a brief score by John Wooldridge that had been recorded in England. George Cukor directed Spencer Tracy and Deborah Kerr in the somber film, an adaptation of a stage play. Not a note survives from Wooldridge’s or Rózsa’s recordings. Rózsa cues recorded March 9, 1949.
Madame Bovary (1949)
Rózsa’s first historical score at M-G-M was one of his best. This box set presents the surviving tracks on disc 1, with lost cues included from a music-and-effects track. Additional selections (including pre-recordings) may be found on disc 11. Pre-recordings made on November 20, December 10, 20, 1948 and January 17, February 3, 23, March 3, 1949. Score recorded April 4, 5, June 7, 14, 15 and 16, 1949.
The Red Danube (1949)
Surviving cues from Rózsa’s score to this post-WWII drama are presented at the beginning of disc 2. Pre-recordings made March 11 and April 11, 1949. Score recorded June 6, August 18 and 29, 1949.
Adam’s Rib (1949)
Not a note of music survives from this Tracy–Hepburn battle-of-the-sexes classic directed by George Cukor (about lawyers on the opposite side of a murder case). Rózsa’s score totaled less than 15 minutes; the film also featured a song by Cole Porter, “Farewell, Amanda.” Recorded August 3, 8, 10, 23, September 22, 1949.
East Side, West Side (1949)
The two surviving Rózsa cues for this urban melodrama can be found on disc 2. Score recorded October 18 and November 1, 1949. Source music (not by Rózsa, conducted by Johnny Green) recorded October 19 and November 3, 1949.
The Asphalt Jungle (1950)
Rózsa’s score to this classic film noir consisted only of a main and end title, presented on disc 2, along with some source music not written by Rózsa. Score recorded February 1, 1950. Source music recorded February 2 and March 6, 1950.
Crisis (1950)
Rózsa’s first score for writer-director Richard Brooks was conceived (and largely executed) for guitars, performed by Vicente Gómez, José Barroso and Jack Marshall. The surviving cues are presented on disc 10. Pre-recordings made on February 2 and 7, 1950. Score recorded March 21, 24, 27, 29 and April 27, 1950.
The Miniver Story (1950)
Rózsa wrote a brief score for this sequel to the classic Mrs. Miniver (1942), incorporating Herbert Stothart’s themes from the original. Rózsa scored the film in England (coinciding with a trip he took to Rome for the filming of Quo Vadis), later adding a few cues in Culver City. The surviving cues (from the Culver City sessions only) can be found on disc 2. Pre-recordings (not by Rózsa) made March 6, 8 and April 18, 1950. No dates available for Rózsa cues recorded in England. Culver City Rózsa cues (revisions and additional cues) recorded August 29 and September 5, 1950.
King Solomon’s Mines (1950)
M-G-M’s hit adventure starring Stewart Granger and Deborah Kerr has no score as such, just source music and native percussion. Rózsa did, however, provide an original symphonic score for the film’s trailer, the surviving segments of which are available on the FSM release of Valley of the Kings and Men of the Fighting Lady (FSMCD Vol. 7, No. 17). Trailer score recorded September 5, 1950—the same day as the last Miniver Story session.
The Red Badge of Courage (1951)
Rózsa did not score this film—Bronislau Kaper did—but he was almost the composer. A studio memo dated September 12, 1950 advised Rózsa that his next assignment was this classic Civil War film directed by John Huston—but “canceled” is also written on the memo. Kaper’s score was recorded on January 30, 31, February 1, May 8 and July 3, 1951, so perhaps the schedule conflicted with Quo Vadis or Rózsa departed the assignment for some other reason. This is the only time where a paper trail links Rózsa to a film ultimately scored by another composer (see The Sheepman, below, however).
Quo Vadis (1951)
Rózsa’s first epic at M-G-M is the most problematic for CD presentation, as the music masters were tragically destroyed by a fire. Disc 3 of this box set features a comprehensive reconstruction including sound effects, while disc 4 features the soundtrack album originally released on sets of 45rpm and 78rpm records (later a 10″ LP) plus surviving pre-recordings, source music, and various odds and ends. Pre-recordings made in Culver City on April 18, 27 and May 3, 1950. Score recorded with the Royal Philharmonic Orchestra in London, England during April 1951, exact dates not available. Revised cues recorded in Culver City on August 16 and 23, 1951.
The Light Touch (1952)
Rózsa’s score for Richard Brooks’s art-theft caper/romance is presented in complete form on disc 2. Source music (not by Rózsa) recorded July 6, 1951. Score recorded August 11 and 13, 1951.
Desperate Search (1952)
Rózsa did not write any original music for this film starring Howard Keel. Rather, like other M-G-M “B” pictures of the period, a staff composer (here, Rudolph G. Kopp) compiled and re-recorded library cues from past M-G-M films; in this case, that included the end title (“Dix’s Demise”) from The Asphalt Jungle, used five times. These recordings can be found on disc 11. Library cues re-recorded (without Rózsa’s involvement) on September 19, 22 and 23, 1952.
Ivanhoe (1952)
Rózsa’s great score to this historical adventure starring Robert Taylor was released by Rhino Handmade (RHM2 7772) in 2002 from the monaural archives of the original soundtrack recording; those seeking a modern stereo recording should acquire Intrada’s 1994 re-recording conducted by Bruce Broughton (MAF 7055D). Bonus selections from the original monaural soundtrack (primarily fanfares) are included on disc 13 of this box set. Pre-recording (“Song of Ivanhoe”) performed by Robert Taylor on June 25, 1951. Score recorded December 6, 7, 8, 10, 1951 and January 16, 21, 1952.
Plymouth Adventure (1952)
Rózsa’s penchant for musico-historical research again came in handy for this story of the early American Pilgrims starring Spencer Tracy. FSM released the original soundtrack (FSMCD Vol. 6, No. 1), as well as additional bonus tracks on the 2CD set of Diane (FSMCD Vol. 7, No. 3). Score recorded July 2, 7, 10, 22, 28, August 4 and 13, 1952.
Julius Caesar (1953)
M-G-M’s excellent production of Shakespeare’s classic had Marlon Brando headlining an all-star cast. Rózsa’s magnificent score (largely in monaural sound) was released on FSMCD Vol. 7, No. 9. Those wishing to hear this music in stereo should check out Intrada’s 1995 re-recording conducted by Bruce Broughton (MAF 7056D). Pre-recordings made on August 11 and 14, 1952. Score recorded December 18, 19 and 22, 1952.
Rogue’s March (1953)
Like Desperate Search, Rogue’s March was another “B” picture (about the British military in 1890s India) given a library score from past M-G-M cues, here compiled by Al Colombo. The single Rózsa cue, from Command Decision, is included on disc 11. Library cue re-recorded (without Rózsa’s involvement) on August 18, 1952.
Code Two (1953)
This “B” picture (about motorcycle cops) also featured a library score concocted by Al Colombo. One sequence blended “Dix’s Demise” from Rózsa’s Asphalt Jungle score with a Roy Webb cue from Cass Timberlane (1947). This sole Rózsa-derived cue may be found on disc 11. Library cue re-recorded (without Rózsa’s involvement) on December 15, 1952.
The Story of Three Loves (1953)
This anthology of three love stories (hence the title) features lovely music by Rózsa, adapting Rachmaninov for the first segment. The complete score is presented on disc 5. Music recorded February 21, 29, June 19, September 11, October 2, 3 and 4, 1952.
Young Bess (1953)
Another historical picture set in England—this one about Queen Elizabeth I—boasts wonderful music by Rózsa. The complete score can be found on disc 6. Pre-recordings made on September 30, 1952. Score recorded January 21, 22, March 2 and 4, 1953.
All the Brothers Were Valiant (1953)
Stewart Granger and Robert Taylor starred in this M-G-M whaling adventure, with a full-blooded score by Rózsa. This is the earliest Rózsa M-G-M soundtrack for which true stereo masters survive. The film was edited after a preview screening but Rózsa was unavailable to adapt his music for the revised footage, so Conrad Salinger and Johnny Green performed those duties. Rózsa’s original score appears on disc 7, along with the revised cues prepared by Salinger and Green. Pre-recordings made January 26 and 29, 1953. Rózsa score recorded May 26, 27 and 28, 1953. Revised cues recorded (without Rózsa’s involvement) August 14 and 18, 1953.
Knights of the Round Table (1953)
Rózsa scored M-G-M’s first CinemaScope release in record time—his prior research into early English music coming in handy. The music was recorded twice: once in Culver City for use in the film itself (released on FSMCD Vol. 6, No. 7), and once in England to satisfy contractual obligations. Varèse Sarabande released a 40:27 program of the British recording on LP (STV 81128) in 1980 and on CD in 1983 (VCD 47269); the complete U.K. score recordings can be found on disc 8 of this box set. U.S. score recorded October 13, 16, 30, November 18, 19, 23, 24, 27, December 1 and 23, 1953. U.K. recordings made at Elstree Way Studios, Borehamwood, England (dates unknown).
Flame and the Flesh (1954)
Rózsa did not score this Richard Brooks film—Nicholas Brodszky did—but the eclectic score featured a variety of source and classical cues, including a brief re-recording of “Viso Perduto” from an earlier Brooks-Rózsa collaboration, The Light Touch, which could not be included in this box set for licensing reasons. Rózsa’s “Viso Perduto” recorded (without his involvement) May 14 and December 21, 1953.
Men of the Fighting Lady (1954)
Rózsa’s contribution to this story of Korean War bomber pilots consists of a 19:47 multi-part cue, “Blind Flight,” which scores the film’s climactic sequence (released on FSMCD Vol. 7, No. 17 along with Valley of the Kings and the King Solomon’s Mines trailer). “Blind Flight” recorded by Rózsa on January 12, 1954. Non-Rózsa score and source music recorded on January 12, 13 and 14, 1954.
Valley of the Kings (1954)
Robert Taylor starred as a precursor of Indiana Jones in this Egyptian archeology adventure. Rózsa’s score can be found in full on FSMCD Vol. 7, No. 17, with the exception of an alternate version of a source cue re-recording of his “Madame Bovary Waltz” (included on disc 11 of this box set). Score recorded on April 20 and 30, 1954.
Crest of the Wave (1954)
Rózsa replaced a score by Austrian composer Hans May (as well as library cues by John Addison) for this story of torpedo research during World War II (known in England by the title of the play from which it was adapted, Seagulls Over Sorrento). Rózsa’s complete score—which is rather brief—can be found on disc 9. Score recorded February 15, 1954.
Beau Brummell (1954)
Rózsa wrote and recorded—without credit—the music for the beginning and end of this film about the famous English dandy Beau Brummell (1778–1840), played by Stewart Granger. Rózsa’s contributions replaced cues by Richard Addinsell, whose music was otherwise retained for the body of the film. Both Rózsa’s music (recorded in Culver City) and Addinsell’s (recorded in England) can be found on disc 9. Rózsa cues recorded June 16, July 14 and August 25, 1954.
Green Fire (1954)
FSM released Rózsa’s complete score to this Stewart Granger–Grace Kelly Latin American adventure (featuring a rare Rózsa-composed title song) on FSMCD Vol. 6, No. 5. Pre-recording made on April 26, 1954. Score recorded July 23, August 4, 5, September 27 and October 6, 1954.
The Glass Slipper (1955)
Rózsa conducted Bronislau Kaper’s score for this live-action version of the Cinderella story starring Leslie Caron—Kaper was one of the rare Golden Age composers who did not conduct his own music. The complete soundtrack is available as a 2CD set (FSMCD Vol. 8, No. 19) featuring a bonus track of crosstalk between accents Polish (Kaper) and Hungarian (Rózsa) from the recording stage. Pre-recordings conducted by Rózsa on May 6, 7, 9, 1954. Additional pre-recording not conducted by Rózsa on July 6, 1954. Score conducted by Rózsa on September 4, October 10, 19, 20, November 29, 1954, and January 7, 1955. Additional score not conducted by Rózsa on October 26, 28, 1954.
Many Rivers to Cross (1955)
Along the lines of The Glass Slipper—and recorded during the same period—Rózsa conducted the studio orchestra on behalf of Cyril Mockridge (presumably on loan from Twentieth Century-Fox, where Alfred Newman typically conducted his scores) for the comedy-western Many Rivers to Cross (available on FSMCD Vol. 12, No. 18). Score recorded September 27, October 6, 12, November 18, December 16, 1954, and January 4 and 14, 1955.
Moonfleet (1955)
Fritz Lang directed this Stewart Granger vehicle that may sound, from the title, like a science fiction film, but is actually a moody English period piece. FSM released the complete score (on FSMCD Vol. 6, No. 20) as well as additional source cues on the 2CD set of Diane (FSMCD Vol. 7, No. 3). Vicente Gómez performed flamenco guitar for several of the film’s source cues. Pre-recordings made on August 24 and September 3, 1954. Score recorded November 29, December 16, 27, 1954, and January 4, 6, 7, 11 and February 7, 1955.
The King’s Thief (1955)
Rózsa’s last English period adventure at M-G-M starred Edmund Purdom and David Niven. The complete score is available on a 2CD set headlined by Knights of the Round Table (FSMCD Vol. 6, No. 7). Score recorded on April 18, 19, and May 10, 1955.
Diane (1956)
Lana Turner starred as the famous Diane de Poitiers (1499–1566), with a sumptuous score by Rózsa. So many revisions were made that the composer practically scored the film twice, and the amount of recorded music necessitated a 2CD set (FSMCD Vol. 7, No. 3, also including bonus tracks from Plymouth Adventure and Moonfleet). Pre-recordings made on April 9, May 7, 10 and 17, 1955. Score recorded on August 30, 31, September 12, 22 and October 29, 1955.
The Swan (1956)
Rózsa did not score this M-G-M film starring Grace Kelly—Bronislau Kaper did, with the orchestra conducted by Johnny Green. Rózsa did, however, conduct the Hungarian “Rákóczy March” as a source music pre-recording prior to filming—suggesting that he may have been the film’s intended composer at that point. FSM issued Kaper’s score as FSMCD Vol. 7, No. 5. “Rákóczy March” recorded on August 31, 1955 (during a session for Diane).
Tribute to a Bad Man (1956)
James Cagney starred in this rare western scored by Rózsa (rare because the Hungarian composer never warmed to American folk idioms), making for a fascinating stylistic collision. The complete score is available on FSMCD Vol. 5, No. 19. Pre-recordings (not by Rózsa) made on May 20, 31, August 5, 24, 1955. Score recorded by Rózsa on December 22, 23, 1955 and January 4, February 2, 1956.
Bhowani Junction (1956)
Rózsa eschewed a conventional orchestra in favor of source music derived from the Indian subcontinent for this drama starring Stewart Granger and Ava Gardner, directed by George Cukor. All of the stereo score and most of the monaural source music was coupled with Green Fire on FSMCD Vol. 6, No. 5. Score recorded October 21, 22, 24, 25, 26, 1955. Additional score (one cue) conducted by Charles Wolcott on December 21, 1955.
Lust for Life (1956)
One of Rózsa’s greatest scores is for this Vincente Minnelli biopic masterpiece starring Kirk Douglas as Vincent van Gogh. The score was FSM’s first release from the M-G-M archives (FSMCD Vol. 5, No. 1). Additional alternates and some corrected cues (due to a sampling-rate error) can be found on disc 13 of this box set. Score recorded March 15, April 12, May 2, 3, 15 and June 1, 1956.
Somebody Up There Likes Me (1956)
This Bronislau Kaper score (for a boxing drama starring Paul Newman) was conducted by Rózsa—the last time (to our knowledge) he did this on behalf of a colleague. Score recorded June 1 and 14, 1956.
Something of Value (1957)
Rózsa’s third and final score for Richard Brooks employed an “ethnic” approach for this African story starring Rock Hudson and Sidney Poitier. The complete score can be found on disc 10. Source music (not by Rózsa) recorded August 13, 1956. Score recorded December 21, 26, 27, 28, 1956, and January 28, 1957.
The Seventh Sin (1957)
Eleanor Parker and Bill Travers starred in this 1957 filming of W. Somerset Maugham’s novel The Painted Veil, set in Hong Kong but featuring a conventional symphonic score (along with “ethnic” source cues). The complete score is available on FSMCD Vol. 5, No. 17. Score recorded February 27, April 9 and 12, 1957.
Tip on a Dead Jockey (1957)
Robert Taylor starred as a washed-up ex-WWII pilot finding redemption through a dangerous smuggling mission. Rózsa’s complete score is presented on disc 11 of this box set. Pre-recordings (not by Rózsa) made on February 21 and March 14, 1957. Score recorded May 15, June 17 and 26, 1957.
The Sheepman (1958)
This is an interesting case. Rózsa recorded source music for this Glenn Ford comedy-western on December 17, 1957, and according to M-G-M paperwork worked for 15 days on the project. Rózsa’s recordings consist of two generic-sounding source cues, neither of which is included on this box set—not only was the music creatively uninteresting (sounding nothing like Rózsa), but the (monaural) masters were in terrible shape. The film was ultimately scored by Jeff Alexander (who recorded his score January 20 and 21, 1958). It is unclear if Rózsa was to be the intended composer.
A Time to Love and a Time to Die (1958)
Rózsa scored this Universal film (a WWII drama directed by Douglas Sirk) on loan from M-G-M. According to studio paperwork, Rózsa’s “loan out” period ran from December 16, 1957 to February 11, 1958 (so this may be what preempted his scoring of The Sheepman). Incidentally, Rózsa’s score was released on a Decca LP (DL-8778) that has been issued on CD only in Japan (MCA Records MVCM 22044).
Torpedo Run (1958)
This WWII submarine thriller was produced during the 1958 musicians’ strike (which ran from February 20 through September 3, according to an M-G-M memo) that saw many prominent features from all the studios (such as the Hitchcock/Herrmann Vertigo) scored overseas. In the case of Torpedo Run, library music from various M-G-M films was newly recorded in Munich, Germany—no dates or personnel were noted in studio paperwork, suggesting it was done on the “down low.” Several Rózsa cues were culled from Command Decision, as well as a few from East Side, West Side, one from The Bribe, and “The Happy Idiot Waltz” from Tip on a Dead Jockey; cues by Jeff Alexander, André Previn, Roy Webb, Lennie Hayton, Bronislau Kaper and George Stoll rounded out the soundtrack. The original film recordings of these Rózsa cues do not survive (except for “The Happy Idiot Waltz”—a selection also re-recorded for M-G-M’s 1967 The Dirty Dozen, released on FSMCD Vol. 10, No. 5); the German re-recordings were discovered too late for inclusion in this box set.
The World, the Flesh and the Devil (1959)
Rózsa’s first science fiction film (not counting the 1945 horror-fantasy The Man in Half Moon Street) was this last-man-on-earth picture starring Harry Belafonte. The complete score is available on FSMCD Vol. 5, No. 15. Score recorded December 8 and 9, 1958. Additional source music (not by Rózsa) recorded December 29, 1958.
Ben-Hur (1959)
What to say about Rózsa’s magnum opus for this legendary film starring Charlton Heston? The original soundtrack did not see release until a 2CD set issued by Rhino in 1994 (Rhino Movie Music R2 72197), but the composer participated in no fewer than three re-recordings that appeared on LP in the months following the film’s premiere. Carlo Savina conducted a Rome orchestra and chorus on the first album, timed to coincide with the film’s release; it became a bestseller for MGM Records. Two follow-up LPs recorded in Nuremberg, Germany, were credited to the “Frankenland State Symphony Orchestra Conducted by Erich Kloss”; although Kloss was a real conductor, having made an LP of Rózsa concert music for MGM Records in 1958, Rózsa later admitted that he himself led the orchestra. The first was a carbon copy of the Savina LP (minus the chorus) and was issued on “Lion,” the company’s budget label; surviving copies are relatively rare. The second was the better-known “More Music From Ben-Hur” (released in 1961), featuring new content. The Savina album and second “Kloss” album saw release on CD (most notably combined on Sony Music Special Products A2K 47020/21). No Ben-Hur music was available for inclusion in this box set, but FSM subsequently released a 5CD “Complete Soundtrack Collection” (including alternates, outtakes and the contents of all three LPs) in February 2012. Original soundtrack pre-recordings made May 25, 1959, in Rome, Italy. Score recorded June 29, 30, July 1, 14, 15, August 4, 5, 6, 13, 14, 18, and October 9, 1959, in Culver City.
King of Kings (1961)
Rózsa’s next great biblical score was about the life of Christ Himself, as played by Jeffrey Hunter. Rhino released the original soundtrack on a 2CD set (R2 78348); the Rome LP re-recording can be found on disc 12 of this box set along with additional and alternate cues from the original soundtrack. Original soundtrack recorded February 16, 17, 20, March 15, 16, 17, 21 and May 3, 1961.
El Cid (1961)
M-G-M loaned Rózsa to Samuel Bronston Productions for this epic medieval romance starring Charlton Heston and Sophia Loren, in exchange for the soundtrack album rights. The composer made a re-recording of score highlights in Munich (included on disc 13 of this box set) that was released by MGM Records. The original music masters, recorded in London, disappeared while the physical assets of Bronston’s company passed through several hands and are deemed irretrievably lost, but Koch issued a new recording of extended highlights in 1996 and James Fitzpatrick produced a re-recording of the complete score for Tadlow Music in 2008.
Mutiny on the Bounty (1962)
Bronislau Kaper scored M-G-M’s gargantuan epic starring Marlon Brando, but originally Rózsa was assigned to the picture—departing the project to score El Cid for Samuel Bronston. Rózsa did, however, conduct one “pre-recording” session of drum tempo tracks and fiddle source music on November 15, 1960. FSM released Kaper’s score on FSMCD Vol. 7, No. 16.
Sodom and Gomorrah (1962)
Although not an M-G-M film, this biblical epic potboiler starring Rózsa “regular” Stewart Granger inspired a score that was very much an extension of the composer’s work at the studio. The music was recorded in Rome in June 1962, and RCA issued the soundtrack album on LP when the film was released in 1963. Various CD incarnations of that LP plus other excerpts from the original tracks have been released over the years, the most recent of which was a more-or-less complete presentation issued by Digitmovies (CDDM074) to honor the composer’s centennial.
Great Movie Themes Composed by Miklós Rózsa (1963)
Having missed out on their star composer’s most recent soundtrack, MGM Records issued this first instance of a “Rózsa's Greatest Hits” album (conducted by the composer) to coincide with the U.S. release of Sodom and Gomorrah. It consisted of new recordings made in Rome and selected tracks from previous MGM Records albums. It makes its CD debut on disc 14.
The V.I.P.s (1963)
By 1963, Rózsa’s contract at M-G-M had expired but he agreed to score this melodrama starring Elizabeth Taylor and Richard Burton as a favor to M-G-M executive (and old friend) Rudolf Monta. The masters for the film soundtrack, recorded in London, have been lost; the album was recorded in Rome and its stereo master can be found on disc 14.
The Power (1968)
Rózsa returned from a five-year hiatus from film work to score this sci-fi picture at M-G-M for fellow Hungarian George Pal. Years ago Citadel Records issued a private pressing (of an album mock-up created but not released by MGM Records in 1968) and this stereo album master was released by FSM along with Russell Garcia’s score to George Pal’s Atlantis: The Lost Continent on FSMCD Vol. 8, No. 2. Disc 15 of this box set features the complete score to The Power from newly discovered 35mm scoring session masters. Pre-recordings made May 10, 1967. Score recorded September 7 and 8, 1967. Additional source cue (not by Rózsa) recorded November 7, 1967. —