Rózsa's compositions, for M-G-M and beyond, are typically considered accessible even for the modern film score fan, and the Rhino Music Group and Turner Classic Movie Music teamed up to make his compositions even more accessible, in a more literal sense, with an enormous tribute set to the composer in 1999. A long-awaited and much-hyped album, this 2-CD "Miklós Rózsa at M-G-M" set offers two and half hours of music that Rózsa composed specifically for the studio's historical films, with the exception of one entry for a contemporary subject matter. The set was a dream come true for collectors of the composer, presenting a well-produced, spectacular tour of twelve years of this successful collaboration. While most digital age film score collectors either dismiss the Golden Age entirely or view it with a respectful, but tepid level of interest, the only significant difference between scores of the 1950's and those of the 2000's is sound quality. There are some procedural differences as well (relating mostly to how scores are accomplished in the digital age, and the computers that revolutionized that process), but if you can transcend those differences, you'll discover what magic lies at the roots of modern film music. This especially applies to Miklós Rózsa, who, like many other composers of the era, spent a good deal of time also writing impressive concert pieces. Unlike many others, however, Rózsa did not draw a distinct line between his concert works and film scores, which causes his film compositions to sound much like classical concerts in the same way that John Williams has managed to accomplish in more recent times. This classical influence, as well as his attention to melody and grand orchestration, makes Rózsa's music more easily listenable outside of the films it accompanies. The archival audio quality of his scores, sometimes in mono but usually in stereo, is counterbalanced by the sheer size and epic scope of the compositional structures.

This 2-CD product covers both the mammoth religious epics and romantically heavy dramas, and all of the scores represented feature the same, classically rich Rózsa touch. With ten minutes from almost every selection, the compilation provides one of the best surveys of a film composer ever to be released. The two notable absences in the historical M-G-M department for Rózsa, Ben-Hur and Quo Vadis, have their reasons for not appearing here. Ben-Hur received a stellar 2-CD release of its own from the same label and producers a few years prior, and no excerpt from that score here could really compete. The location of quality source tapes for Quo Vadis remained a mystery at the time. As any good Rózsa fan will have known, most of the material presented on the set was previously unreleased in the form of its original recordings. King of Kings, as well as parts of Ivanhoe and Madame Bovary, were previously available, but the rest of the scores debut here in full stereo sound. Rózsa was blessed to have the technical support at the time to record in three-track stereo sound, most of which translates well enough to digital media to satisfy all but the audiophiles. The production quality of the CDs and packaging is among the best ever pressed and published; producer George Feltenstein's arrangement of the set was praised by nearly every film music publication at the time, in many cases voted the best film music album of the year. The masterful balance to the compilation of music is complimented by an outstanding 40+ page booklet that features curious photographs of the composer and the crews with which he worked, along with an incredible depth of notes by Feltenstein and Fred Karlin. This set is, simply put, one of the most spectacular compilations ever presented to the soundtrack community, and any modern fan curious about Rózsa's work and the Golden Age in general should not hesitate to enjoy and be educated by it.  *****   @Amazon.com: CD or Download