Back Issues of Pro Musica Sana (PMS)

The Society's journal was both its principal activity and the chief benefit of membership. The title was Dr. Rózsa's own suggestion: he had once entertained the idea of founding a Musica Sana society to counter what he considered unhealthy trends in the international music world. PMS has published 67 full issues and two supplements to date. Originally a quarterly, it later appeared on a semiannual basis. The early issues were quite brief; the most recent ones have consisted of up to 52 pages. Content has varied with the interests of the contributors and readers, exhibiting aspects of both a scholarly journal and a "fanzine." Back issues are still available for US $5 (substantial discounts available for larger orders).

The Miklós Rózsa Society
Editor: John Fitzpatrick
Associate Editor: Frank K. DeWald

The PMS searchable Archive

John Fitzpatrick

Digitizing our old content has been a goal for some time. Until recently the task of scanning and converting to .pdf was considered too difficult. The faded pages and highly variable typescripts seemed to resist effective conversion. But Doug Raynes persisted. Frank DeWald, Ralph Erkelenz, and Hank Verryt joined him in an international coalition of the willing. Hank has coordinated the project and brought the material online. And suddenly what seemed impossible now lies before us. My deepest thanks to our bold colleagues (all of whom are at work on additional projects) for making this possible.

To state the obvious: this is a documentary archive of primarily historical interest. Not everything you read there is true. The opinions expressed herein do not necessarily represent the present-day views of the writers. For example, I felt compelled to write the very first feature article in PMS. It was a short appreciation of Young Bess, a score that was virtually unknown in 1972. Somebody had to start the ball rolling, and I am proud that I rose to the task. I am also more aware with every passing year that I was woefully ill equipped for it. Not long ago, while doing some research on this score (yes, I still rank near the summit of Rózsa’s oeuvre), I couldn’t even bear to look at my old article. Now anybody may do so. To quote another Deborah Kerr movie: “When you write about this—and you will—be kind.”

Scanning and Optical Character Recognition (OCR) are imperfect processes. Quite a few new typos are introduced in any digitizing process, and despite everybody’s efforts, not all of these have been weeded out. If you see such whoppers as “Anothep Ben-Hur,” Kahalevsky, and (my favorite) “Dearborn, HI” (i.e., Hawaii!), you will be correct to assume that these are artifacts of the conversion process. This is not to deny another obvious fact: there were plenty of genuine errors in the original publications. We have decided to let these stand in the interest of historical accuracy. Today’s reader will have no way of knowing whether any given error is new or old and (if the latter), whether it originated with the writer, the typist, or the editor. Let me confess up front to the very first howler, which appears in Dr. Rózsa’s letter in PMS 1. Be assured that the maestro did not misspell the name of his old friend Arthur Honegger. I did. Not only that, I also mispronounced it for years, on the mistaken assumption that a composer who lived in France and wrote in French must have had a French name. Dr. Rózsa was too kind a gentleman to ever correct me, though I know he must have winced sometimes at the young American’s gaucherie. In fact, MR (with some very rare exceptions) never offered any criticism of PMS or of the Society, despite my frequent requests for comment. Almost every issue was received with manifest delight as “the best one yet.” Surely the maestro knew otherwise. But he also knew something more important: that we were all allies in a good cause and that encouragement is ultimately more productive than negativity. Would that present-day denizens of Internet message boards were as wise as he!

Rózsa’s elegance of style and manners did not extend to his handwriting, which took the form of hasty ballpoint scrawls on fragile onionskin stationery or cramped postcards. (You can see some samples in Jeffrey Dane’s book.) Since Rózsa himself was almost our sole source of information in those early days, you will find quite a few misspelled performer names here. It took us years to straighten out the spelling of the pianist Erzsébet Tusa. More than names are at issue. MR wrote to us casually and not as a scholar or trained journalist. When he said that all copies of the Background to Violence score had been destroyed, he had apparently forgotten the copy he had donated to Syracuse University a decade earlier. And when he spoke of a future performance . . . Well, we all know that not everything goes according to plan. Did Pinchas Zukerman actually play the Violin Concerto with Rózsa conducting the Royal Philharmonic in 1973–74? Nobody else has reported on such an event.

But enough apologies. PMS belongs to the historical record. Its role in the Rózsa revival and the film music renaissance is something that the three surviving founders remain proud of. These issues may not be 100 percent accurate. Their critical judgments may be jejune or worse. But if nothing else they will take you back to a time when people were barely aware if the composer was still alive, when we doubted if he would ever write another film score, when the total current Rózsa discography amounted to four or five familiar soundtracks plus the Heifetz Concerto (there was virtually no Herrmann or Korngold at all), and when Christopher Palmer and Charles Gerhardt were nearly unknown. It was a time when some young people with (dare I say?) “the audacity of hope” decided to take a first step.




PMS 67 (Summer 2012) 36 pages

In this final issue of PMS: The 'Quo Vadis' recording sessions in Prague as experienced by John Fitzpatrick, Frank DeWald and Alan Hamer. Several articles looking at the past and the future.

PMS 66 (Fall 2010) 52 pages

The Rózsa film scoring class as remembered by Ross Malm in 1952. The Ben-Hur score analysis concludes with the examination of the conductor score and disc representations as well as the first documented accounts of the death of Massala and finale music. New and notable performances and CD releases.

PMS 65 (Spring 2009) 40 pages

Summarising the years events and recordings with reports on some major concerts. Ralph Erkelenz takes 30 pages in part 4 of the in depth study of the Ben-Hur score.

PMS 64 (Spring 2008) 28 pages

Primarily dedicated to reports of the Miklós Rózsa centenary year events worldwide. Frank DeWald comments on two new recordings from Naxos.

PMS 63 (Spring 2007): 44 pages

Featuring part 3 of Ralph Erkelenz's long-running Ben-Hur analysis (carrying the story forward to the oasis scene) and Frank DeWald's commentary on the new recordings from CPO and ASV.

PMS 62 (Spring 2006): 36 pages

36-page issue devoted principally to part 2 of Ralph Erkelenz's continuing Ben-Hur study. This installment takes us from the arrest and prison scenes through the Nazareth episode and the rowing of the galley slaves. Discoveries here include an impassioned sequence for Judah in prison that was apparently never recorded and many fascinating details about the synchronization of the rowing music.

PMS 61 (Spring 2005): 40 pages

Ben-Hur: A Tale of the Score” by Ralph Erkelenz—the first-ever detailed comparison of the conductor score with three versions of the MGM audio tracks. Part 1 concludes with the arrest scene. “Gleanings from the Forum”—miscellaneous excerpts from online discussions; Jungle Book release; Louis Kaufman memoir; K. Selvarajah’s In Search of Ben-Hur Records”; Plymouth Adventure Lyrics; Passing of Raksin, Bernstein, Goldsmith, Ustinov, “Pav,” Markova.

PMS 60 (Winter 2002): 40 pages

King of Kings: Rediscovering the Film and the Score” by George Komar—detailed track-by-track description inspired by the Rhino album release. News of Bill Wrobel’s “score rundowns” and full score discoveries; Carlo Savina; Terry Teachout article in Commentary.

PMS 59 (Summer 2001): 28 pages

“Scheherazade’s Song Sublime,” an affectionate look at Rózsa’s Rimsky adaptations for Song of Scheherazade by John J. Wayne and Frank K. DeWald; Testimonials on how Rózsa has influenced our lives; Five key recordings; Fanfare for Our Patrons.

PMS 58 (Summer 2000): 32 pages

The Thief of Bagdad: A Study in Sources by Lothar Heinle; The Thief of Bagdad: The Musical? (Syracuse manuscript sources) by Richard H. Bush; MRS members' poll; Concert recordings by Frank DeWald.

PMS 57 (Spring 1999): 24 pages

Society online; Rhino MGM tracks; Atlanta concertos for Telarc; Korean Rózsa society; Margaret Rózsa obituary; Munich Rózsa Festival; Lust For Life by Frank DeWald; Concert music v. film music: five readers respond to Walter Simmons; new recordings reviewed

PMS 56 (Fall 1998): 24 pages

Koch's new Piano and Cello Concertos by Frank DeWald; David Buechner records the piano scores (session report by John Fitzpatrick); AMPPR radio conference by Frank J. Oteri; John Fitzpatrick rediscovers The Seventh Sin; Marilee Bradford on Rhino's complete Ben-Hur; Walter Simmons on Rozsa; Editor's notebook: TV taping.

PMS 55 (Spring 1997): 20 pages

Frank K. DeWald on the Symphony; Paul Packer on the Rhino Ben-Hur; The teachers of Miklos Rozsa (Theodor Kroyer and Hermann Grabner) by Lothar Heinle.

PMS 54 (Fall 1996): 20 pages

Inaugurating Moments To Remember; John Mauceri on "The Music That Has No Name"; "Restoring the Cid" by Frank DeWald; The Concerto for String Orchestra (investigation by Alan Hamer); László Lajtha (1882-1963).

PMS 53 (Spring 1996): 24 pages

Memorial Issue

Remembering Rozsa; John Mauceri and the New York Philharmonic report by A.C. Robbins; "Quo Vadis, MRS?"; New recordings.

PMS 52 (Spring 1995): 16 pages

Ben-Hur Laserdisc (with isolated music!); First impressions of the Symphony (1930); Rozsa's collaborators - directors and actors.

PMS 51 (Summer 1993): 20 pages

"The Song of El Cid" - extensive analysis by Frank DeWald (part 2 of 2); John Fitzpatrick on Kathryn Kalinak's blend of theory and practical criticism.

PMS 50 (Spring 1992): 24 pages

"The Song of El Cid" - extensive analysis by Frank DeWald (part 1 of 2); Book notes.

PMS 49 (Summer 1991): 8 pages

Book review by John Fitzpatrick: Palmer's The Composer In Hollywood; The difficulties of presenting film music live by Frank DeWald.

PMS 48 (Spring 1990): 24 pages

"The film music of Miklos Rozsa on records: Supplement 13" by Villu Viksten; "Film music in the 1980s"; 80th birthday tributes.

PMS 47 (Winter 1989): 28 pages

ASCAP Golden Soundtrack presentation & the Philharmonia birthday concert in London; The Private Files Of J. Edgar Hoover analysis by Frank DeWald; Analysis of Goldsmith's Explorers by David Gideon; State of the society.

PMS 46 (Summer 1987): 28 pages

Eightieth birthday tributes; Sodom and Gomorrah LP release; Analysis of King of Kings by Derek Elley (part three); Film music Discography Part III:

PMS 45 (Fall 1986): 24 pages

Analysis of King of Kings by Derek Elley (part two); The film music of Miklos Rozsa: A checklist (parts I & II).

PMS 44 (Winter 1985): 24 pages

Rozsa's New England Concerto; Analysis of King of Kings by Derek Elley (part one); Friedhofer's The Best Years Of Our Lives examined by Samuel Chell; Herrmann's A Christmas Carol.

PMS 43 (Spring 1985): 24 pages

A Double Life paperback launch & MR's desert island discography; Book reviews; Analysis of William's E.T. by John Caps; "Groves conducts Walton" by Frank DeWald; The Times slurs film music; Maurice Jarre.

PMS 42 (Fall 1984): 24 pages

Pittsburgh tales: Viola Concerto premiere & the rehearsal; Star Wars trilogy on Varčse; "Herrmann, Hitchcock, and the music of the irrational": Conclusion of a study by Royal S. Brown.

PMS 41 (Spring 1984): 20 pages

New recording: Rhapsody for Cello and Orchestra; "Herrmann, Hitchcock, and the music of the irrational": Part two of a study by Royal S. Brown; "Kubrick's canned music" by Arthur Haupt; Print score folios for E.T. and Return of the Jedi.

PMS 39-40 (Fall 1983): 28 pages

Recurring thematic materials in Herrmann, Rozsa and Newman by John B. Archibald; Patrick Gowers' Stevie and Smiley's People; Tony Thomas' choral versions of Ben-Hur and King of Kings, and the Piano sonata; "Herrmann, Hitchcock, and the music of the irrational": Part one of a study by Royal S. Brown.

PMS 38 (Spring 1983): 16 pages

World premiere of Herrmann's Wuthering Heights; Organisations devoted to Miklos Rozsa; Reflections on A Double Life by John Fitzpatrick; William Walton (1902-1983) remembrance by Alan Hamer; News and letters

PMS 37 (Fall 1982): 8 pages

Piano and Cello concerti discs on Pantheon non-reviewed by John Fitzpatrick; CinemaScore journal. News and letters.

PMS 36 (Summer 1982): 16 pages

Corigliano's Altered States examined by David James; North's Dragonslayer and Space Odyssey symphony examined by Ken Sutak.

PMS 35 (Spring 1982): 24 pages

Preston Jones' recording sessions report of Dead Men Don't Wear Plaid.

PMS 34 (Winter 1981-1982): 12 pages

North's Dragonslayer; Interview with John Corigliano; "A word about film music criticism" by John Caps.

PMS 33 (Summer 1981): 24 pages

"Cinema/Sound" by Rick Altman; Eye of the Needle recording sessions; Goldsmith - "Composer of the Eighties?"; Current records.

PMS 32 (Fall 1980): 24 pages

Time After Time analysis by Frank DeWald; "The 1970s seen from Europe" (poll); British film and TV music anthology from EMI; Strange turns of the filmusical wheel of fortune.

PMS 31 (Summer 1980): 20 pages

An introduction to William Alwyn; Goldsmith's The Other and The Illustrated Man examined by Alexander Strachan; New Tony Thomas book; Report on MR's spring appearances; MR's honourary degree citation from the College Of Wooster; Frank Cordell (1918-1980).

PMS 30 (Spring 1980): 28 pages

"Film music in the 1970s: A special symposium". comprising;
A Backward Glance: by Frank DeWald. The State of the Art: by Mark Koldys. Renaissance?: by Michael Quigley. Pre-Renaissance?: by Derek Elley. Categories: by Ken Sutak. The Oscars: by Ronald Bohn. Roll of Honour: by Alan Hamer. The Best of the Decade: by various.


PMS 29 (Winter 1979-1980): 12 pages

Franz Waxman interview (from 1950); Goldsmith's Alien; Addison's The Seven Per Cent Solution; Book review: Edward Rose's Soundtrack Record Collector's Guide.

PMS 28 (Fall 1979): 24 pages

"The Concert Music on Records" by Frank DeWald; Book review: Edward Johnson's Bernard Herrmann: Hollywood's Music Dramatist; Rozsa at the College of Wooster; Forgotten Nazi film music.

PMS 27 (Summer 1979): 24 pages

Rozsa interview with Derek Elley (from 1976); Enzo Masetti's Hercules.

PMS 26 (Spring 1979): 16 pages

"Overtures: A Checklist and Commentary" by Volker and Wolfram Hannemann; The text of the Vestal chorus from Quo Vadis; Book news; Leonard Rosenman's The Lord of The Rings; Newman's Prince of Foxes; Current scores.

PMS 25 (Winter 1978-1979): 20 pages

Spellbound Society conference in New York; Choir of the West's new Rozsa disc; Hugo Friedhofer's The Best Years of Our Lives analysis by Frederick W. Sternfeld.

PMS 24 (Fall 1978): 20 pages

Rozsa's Choral Pieces, op. 18 by Florella Orowan; Martin Gould interview by Mark Koldys; Book review: Roy M. Prendergast's A Neglected Art: A Critical Study of Music in Films; Film music bibliography; Current scores.

PMS 23 (Summer 1978): 20 pages

Alain Resnais interviewed by Bertrand Borie (translation); Rozsa's Violin Concerto, op. 24 analysis by Jack Gallagher (part two of two); Finding recordings.

PMS 22 (Spring 1978): 32 pages

Rozsa's Violin Concerto, op. 24 analysis by Jack Gallagher (part one of two); Backgrounds of the people to whom MR has dedicated his works; New Ben-Hur recording (Phase 4); Two television documentary scores on disc; The third Rozsa Polydor album (2383 440) reviewed by Mark Koldys.

PMS 21 (Winter 1978): 20 pages

Editorial: Passages from the epics to be considered for inclusion on future discs; "Toronto/Hamilton" reports I & II; Quo Vadis recording sessions and other events by Alan Hamer; Nino Rota profile by Mary Jane Matz; "It's a bird, it's a plane, it's Allegro molto agitato e tumltuoso" by John Fitzpatrick; Hans J. Salter renaissance; Book review: Derek Elley's The International Music Guide; Richard Addinsell obituary; John Fitzpatrick's first impressions of The Private Files of J. Edgar Hoover.

PMS 20 (1977): 24 pages

Goldsmith's Islands In The Stream examined by Gregg Stevens; William's Star Wars examined by Mark Koldys; Elmer Bernstein's recording of Thief Of Bagdad reviewed by Preston Jones; Providence score analysis by Mary Peatman; Providence disc discussion by John Fitzpatrick; Malcolm Arnold.

PMS 19 (1977): 36 pages

Rozsa turns 70; The Indiana University film conference; London recording sessions report by Alan Hamer; The Piano Concerto in Milwaukee reviewed by Mark Koldys; List of published Rozsa concert scores; "The Films of Miklos Rozsa: Checklist, Tapeography, and Commentary" by John Fitzpatrick and Mark Koldys; "The Technique of T.V. Taping"; UCLA/FILMEX "Filmusic" course outline; Current scores & records.

PMS 18 (1976): 24 pages

"Tripartita Journal" by John Fitzpatrick and Mary Peatman; London Ben-Hur recording sessions report by Alan Hamer; Washington D.C. and New York photos; English premiere of The Vintner's Daughter; Bernstein records Newman's Wuthering Heights; "Tiomkin Reconsidered" by Mark Koldys; Addinsell's A Christmas Carol.

PMS 17 (1976): 24 pages

"Opus 1: A First Hearing"; Goldsmith's Logan's Run analysis by Mark Koldys; Discussion of Ken Sutak's book and soundtrack copyright by Mary Peatman; Polydor II reviewed by Frank DeWald; Elmer Bernstein's recording of Young Bess discussed by John Fitzpatrick; Elmer Bernstein's Bicentennial concert report from Alan Hamer.

PMS 16 (1976):28 pages

Book review: Manvell & Huntley's The Technique of Film Music; Analysis of Prokofiev's Ivan The Terrible by Mary Peatman; Pirate tapes; Mockridge's The Luck Of The Irish & Rota's The Glass Mountain.

PMS 15 (1976): 20 pages

Bernard Herrmann (1911-1975); Other losses; "Tripartita in London" by Alan Hamer; "Early Works" by Charles W. Rileigh; Book review: Mark Evans' Soundtrack: The Music of the Movies; Book review: Irwin Bazelon's Knowing the Score; Bernstein's Film Music Collection; "New Journals and Societies" by John Fitzpatrick; North's A Streetcar Named Desire analysis (conclusion); Current scores and records.

PMS 14 (1975): 28 pages

Gerhardt's recording Captain Blood: The Classic Film Scores For Errol Flynn review; "Polydor Super 2383 327"; "The U.A. Fiasco" by Tom DeMary; "Rozsa on Tape" by John Fitzpatrick; North's A Streetcar Named Desire analysis (part three); Current scores & records.

PMS 13 (Spring 1975): 32 pages

Christopher Palmer's Rozsa biography reviewed by John Fitzpatrick; Gerhardt's Waxman album reviewed by Preston Jones; Gerhardt's Spellbound: The Classic Film Scores of Miklós Rózsa reviewed by Frank DeWald; Herrmann's album Music from Great Shakespearean Films reviewed by Mark Koldys; "The New Recording Societies" by John Fitzpatrick; MRS in its 4th year; "Difficulties" by John Fitzpatrick; "Yet Another Ben-Hur" by Alan Hamer; "Filmusic In Four Channels" by Mark Koldys; MR's London lecture October 1972 (conclusion).

PMS 12 (Winter 1974-1975): 28 pages

Rozsa's The Twenty-Third Psalm, op. 34; Book review: James L. Limbacher's Film Music: From Violins to Video by Frank DeWald; "Gerhardt and Herrmann" by Craig Reardon; North's A Streetcar Named Desire analysis (part two); MR's London lecture October 1972 (part one).

PMS 11 (Fall 1974): 24 pages

Mark Koldys' analysis of Ben-Hur and Return from Hungary, a short report by Miklós Rózsa.

PMS 10 (Summer 1974): 32 pages

"Orion II: Rozsa and Castelnuovo-Teldesco" by Mary Peatman; "The Golden Voyage Of Sinbad: Three Views"; "Herrmann Fantasy" by Mark Koldys; Recent records; "The Korngold Symphony on disc at last" by Charles W. Rileigh; "Two New Goldsmith LPs" by Mark Koldys; Pirates; Bernard Herrmann lecture June 1972 (conclusion).

PMS 9 (Spring 1974): 20 pages

"Scoring Sinbad" by Miklos Rozsa; North's A Streetcar Named Desire analysis (part one) by Ken Sutak; Bernard Herrmann lecture June 1972 (part one).

PMS 8 (Winter 1973-1974): 24 pages

"Bette, Bogart, and Korngold II" by Mark Koldys; "From Warner's Archives" by Craig Reardon; "Some Choral Scores" by Christopher Palmer; Rozsa's The Power analysis by Mark Koldys.

PMS 7 (Fall 1973): 28 pages

Angel's Miklos Rozsa Conducts His Great Film Music; Virgil Thomson's Louisiana Story (new recording); "Rozsa on Orion" by Mark Koldys; "Newman on RCA" by John Fitzpatrick; "Film Music: Between Hard Covers" by John Fitzpatrick; "Herrmann In London" by Ted Gilling; Rozsa's standing in Hungary.

PMS 6 (Summer 1973): 24 pages

Herrmann's Sisters; "Walton on Seraphim" by Frank DeWald; Gerhardt's Now Voyager: The Classic Film Scores of Max Steiner; "Rozsa on disc: The Film Music" by John Fitzpatrick.

PMS 5 (Spring 1973): 6 pages

"Rozsa in London, October 1972" by Christopher Palmer; Detroit premiere of Rozsa's Concert Overture; "The Birth of the Spellbound Concerto" by Ted Wick; "Rome" by Miklos Rozsa; "Renaissance at RCA" by Mark Koldys; Message from MR.

PMS 4 (Winter 1972-1973): 12 pages

"Triumphs, crises, and other business" by John Fitzpatrick; Honorary Members; "Some Korngold at last" by Charles Rileigh; "Another Ben-Hur" by John Fitzpatrick; "The Four Concertos of Miklos Rozsa" by Ken Doeckel.

PMS 3 (Fall 1972): 10 pages

Progress report; "Filmusic and Film Music" by Frank DeWald; "Rozsa on disc: The Concert Music" by Myron Bronfeld; The Miklos Rozsa Subscription Service (MRSSS).

PMS 2 (Summer 1972): 6 pages

Progress report; Current journals; Rozsa in New York; Reissues; Bibliography; US premiere of Rozsa's Cello Concerto, op. 32.

PMS 1 (spring 1972): 8 pages

Establishment of the Society with letter from MR; Miklós Rózsa; by Christopher Palmer (reproduced from Church Music, May 1971), being Palmer’s very first published writing on MR; “First Notes on Young Bess by John Fitzpatrick.