• Name: Miklós Rózsa
• Birthday: 04/18/1907
• Birth Place: Budapest, Hungary
• Died: 07/27/1995
• Place of Death: Los Angeles, CA
• Period: Modern
• Genre: Classical

Title	Release
Lost Weekend/Night of the Hunter	2006
Knights of the Round Table/The King's Thief WA	2005
Rozsa: Three Choral Suites [Ben Hur, Quo Vadis, King Of Kings] WA	2005
Seventh Sin	2005
The World, the Flesh and the Devil	2005
Conducts His Epic Film Scores WA	2004
Moonfleet WA	2003
King of Kings [Rhino/Turner] WA	2002
Ben-Hur: The Essential Miklós Rózsa WA	2000
Film Music of Miklos Rozsa WA	1996
Julius Caesar [Original Soundtrack]	1995
Young Bess WA	1995
King of Kings [Original Motion Picture Soundtrack]	1992
The Classic Rozsa	1990
El El Cid [Koch]	1977
Spellbound: Classic Film Scores of Miklos Rozsa	1974
Sodom & Gomorrah	1962
Ben-Hur [Sony] WA	1958
Lust for Life [Turner Classic]	1956
Providence [Original Motion Picture Soundtrack]
To Everything There is a Season
(2) Ben Hur Choral Suite, for chorus & orchsetra (arr. Daniel Robbins)	2004
(2) King of Kings Choral Suite, for chorus & orchestra (arr. Daniel Robbins)	2004
(2) Quo Vadis Choral Suite, for chorus & orchestra (arr. Christopher Palmer, Julian Kershaw)	2004
A Christmas Sequence, for orchestra	1992
(2) A Woman's Vengeance, film score
(2) All the Brothers Were Valiant, film score
(2) Andante for strings, Op. 22a	1992
Background to Violence, suite for orchestra WA
(4) Bagatelles, for piano, Op. 12	1998
(2) Beau Brummel, film score
(2) Because of Him, film score	1984
(37) Ben-Hur, film score WA	1996
(4) Ben-Hur, symphonic suite from the film score
Bhowani Junction, film score	1955
Blood on the Sun, film score	1945
(2) Brute Force, film score
(5) Concerto for cello & orchestra, Op. 32	1995
(5) Concerto for string orchestra, Op. 17	1992
(4) Concerto for viola & orchestra, Op. 37
(7) Concerto for violin & orchestra, Op. 24
Crisis, film score suite	1978
Dead Men Don't Wear Plaid, film score WA
Diane, alternate film score WA	1955
Diane, film score WA	1955
(5) Double Indemnity, film score	1996
(2) Duo for cello & piano, Op. 8	1998
(3) Duo for violin & piano, Op. 7	1994
(17) El Cid, film score
(2) Eye of the Needle, film score WA
Fantastic Voyage, film score WA
Fantasy on Themes from Young Bess, for orchestra	1985
(2) Fedora, film score
(2) Festive Flourish, for orchestra	1985
(3) Green Fire, film score
(2) Hungarian Nocturne, for orchestra, Op. 28	1998
Hungarian Peasant Song & Dance
(5) Hungarian Serenade for orchestra, Op. 25
(3) Hungarian Sketches (3), Op. 14
(2) Introduction and Allegro for Viola Solo, Op. 44	1990
(2) Ivanhoe, film score	1994
(13) Julius Caesar, film score	1995
(4) Jungle Book, film score
Kaleidoscope, for piano, Op. 19	1998
Kaleidoscope, Op. 19b
(16) King of Kings, film score
King Solomon's Mines, film trailer excerpt WA
Kiss the Blood off My Hands, film score
Knight Without Armor, film score
(2) Knights of the Round Table, film score
Last Embrace, film score WA

Miklos Rozsa already had a promising career as a composer in the concert hall when he started writing movie scores in the mid-1930s. By the end of that decade, he was working on the most expensive movie being made in England, and by the end of the decade that followed, he was under contract to the biggest studio in Hollywood.

Born into a well-to-do family in Budapest, Rozsa's musical sensibilities were shaped by his contact with the Magyar peasants who lived around his father's summer estate. As a boy he could read music before he could read words, and proved a natural musician, taking up the violin at age six. His earliest influences as a student were Béla Bartók and Zoltán Kodály, who were regarded as dangerous radicals at the time. After studying at the Leipzig Conservatory, Rozsa embarked on a career as a composer and saw early success with his Variations On a Hungarian Peasant Song and his Theme, Variations and Finale -- the latter entered the repertory of several major conductors, including Bruno Walter, in the mid-1930s, and Rozsa received encouragement in his career from none other than Richard Strauss. He began writing music for films at the inspiration and suggestion of his friend Arthur Honegger -- Rozsa needed the income, and he liked the idea of writing music that would get performed and recorded quickly. Rozsa established himself as a film composer at London Films, the British studio founded by his fellow Hungarian Alexander Korda, and after impressing Korda with his work on thrillers like Knight Without Armor (1937), the producer chose Rozsa as the composer for his -Arabian Nights fantasy film The Thief of Baghdad (1940). The latter proved too ambitious and expensive to finish in England once the war broke out, and the production was moved to Hollywood, and Rozsa with it. He spent the next eight years as a successful freelance composer, winning his first Oscar with his score for Alfred Hitchcock's Spellbound (1945), which broke new ground in movie music with its use of the electronic instrument the theremin (and also yielded a popular piece of light classical music with the Spellbound Concerto). He became known for his ability to score crime movies, particularly the category now known as film noir, psychologically oriented tales of personal and criminal disorder, including The Killers (1946) and The Naked City (1947). In 1948, after winning his second Oscar (for A Double Life), Rozsa joined MGM, then the biggest studio in Hollywood, where he earned a third Oscar (for Ben-Hur (1959)) and a brace of nominations; his music graced some of the biggest movies of the era, including epics like Quo Vadis (1949) and costume adventure yarns such as Ivanhoe (1952), and serious topical dramas like The Red Danube (1949). Rozsa continued writing for the concert hall, although as a post-romantic composer whose work was rooted in tonality, he found himself out of favor with the critics as early as 1943, when his Theme, Variations and Finale was performed by the New York Philharmonic. That didn't stop the performances or prevent commissions from coming in; he wrote his Violin Concerto for Jascha Heifetz, and into the 1960s and 1970s was writing concertos for piano, cello, and viola that were performed and recorded by such soloists as Leonard Pennario and Janos Starker. Rozsa remained active into the 1980s, composing music for a new generation of filmmakers, including Alain Resnais. At the time of his death in 1995, his concert and film music were in the process of being rediscovered and newly recorded. ~ Bruce Eder, All Music Guide