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The Rózsa family name was originally Rosenberg, changed by Miklós Rózsa's paternal grandfather in 1887.
Answer: True
Explanation: The source explicitly states that the Rózsa family name was changed from Rosenberg in 1887 by Miklós Rózsa's paternal grandfather, Moritz Rosenberg.
Regina Rózsa, Miklós Rózsa's mother, was a pianist who had received instruction from pupils of Franz Liszt.
Answer: True
Explanation: The source confirms that Miklós Rózsa's mother, Regina (née Berkovits), was a pianist who had studied with pupils of Franz Liszt.
Miklós Rózsa began performing in public and composing his own music at the age of five, coinciding with receiving his first violin.
Answer: False
Explanation: The source states that Miklós Rózsa received his first violin at age five, but he began performing in public and composing his own music by the age of eight.
Miklós Rózsa initially pursued legal studies at the University of Leipzig before matriculating at the Conservatory.
Answer: False
Explanation: The source indicates that Miklós Rózsa initially enrolled at the University of Leipzig in 1925 to study chemistry, not law, before transferring to the Leipzig Conservatory.
Rózsa's academic period in Germany primarily cultivated a strong sense of Hungarian nationalism, eclipsing other musical traditions.
Answer: False
Explanation: The source states that Rózsa's studies in Germany instilled a deep respect for the German musical tradition, which balanced his Hungarian nationalism, rather than overshadowing other traditions.
Miklós Rózsa's initial published compositions included a *Violin Concerto* and his *Symphony, Op. 6*.
Answer: False
Explanation: The source clarifies that Rózsa's first two published works were the *String Trio, Op. 1*, and the *Piano Quintet, Op. 2*. His early *Violin Concerto* and *Symphony, Op. 6*, were not published.
Gyula Rózsa, Miklós's father, was a fervent conservative who disapproved of his son's musical aspirations.
Answer: False
Explanation: The source states that Gyula Rózsa had socialist leanings and loved Hungarian folk music, and while he initially wished his son to study chemistry, there is no indication he was a staunch conservative or opposed his son's musical career beyond the initial preference for chemistry.
Which statement most accurately characterizes Miklós Rózsa's principal professional capacities?
Answer: A Hungarian-American composer and conductor.
Explanation: The source identifies Miklós Rózsa as a Hungarian-American composer and conductor, widely recognized for both his film scores and his commitment to concert music.
In which year was Miklós Rózsa born?
Answer: 1907
Explanation: The source states that Miklós Rózsa was born on April 18, 1907.
What is the etymological origin of Miklós Rózsa's family name?
Answer: It was changed from Rosenberg by his paternal grandfather in 1887.
Explanation: The source states that Miklós Rózsa's paternal grandfather changed the family name from Rosenberg to Rózsa in 1887.
At what chronological age did Miklós Rózsa commence public performances and original compositional work?
Answer: Eight
Explanation: The source indicates that Miklós Rózsa began performing in public and composing his own music by the age of eight.
Following his initial enrollment in chemistry, where did Miklós Rózsa undertake his formal musical education?
Answer: Leipzig Conservatory
Explanation: The source states that Miklós Rózsa transferred to the Leipzig Conservatory after initially enrolling in chemistry at the University of Leipzig.
What profound impact did Rózsa's German studies have on the evolution of his musical idiom?
Answer: It instilled a deep respect for German musical tradition, balancing his Hungarian nationalism.
Explanation: The source indicates that Rózsa's studies in Germany instilled a deep respect for the German musical tradition, which balanced his Hungarian nationalism.
Who constituted Miklós Rózsa's sole sibling?
Answer: A younger sister named Edith.
Explanation: The source states that Miklós Rózsa's only sibling was his younger sister, Edith.
What was the political orientation of Gyula Rózsa, Miklós Rózsa's father?
Answer: Socialist
Explanation: The source states that Gyula Rózsa, Miklós's father, had socialist leanings.
What was the title of the political pamphlet authored by Miklós Rózsa's father, Gyula Rózsa?
Answer: *To Whom Does the Hungarian Soil Belong?*
Explanation: The source states that Gyula Rózsa expressed his socialist views in a pamphlet titled *To Whom Does the Hungarian Soil Belong?*
Regina Rózsa, Miklós Rózsa's mother and a pianist, had received instruction from the pupils of which eminent composer?
Answer: Franz Liszt
Explanation: The source indicates that Miklós Rózsa's mother, Regina, was a pianist who had studied with pupils of Franz Liszt.
Which instrument did Miklós Rózsa's maternal uncle, Lajos Berkovits, perform as a member of the Budapest Opera?
Answer: Violin
Explanation: The source states that Miklós Rózsa's maternal uncle, Lajos Berkovits, was a violinist with the Budapest Opera.
Who served as Miklós Rózsa's composition instructor at the Leipzig Conservatory?
Answer: Hermann Grabner
Explanation: The source states that Miklós Rózsa studied composition with Hermann Grabner at the Leipzig Conservatory.
What was the fate of Rózsa's early single-movement *Violin Concerto* and *Symphony, Op. 6*?
Answer: Neither work was published, and Rózsa suppressed them, though the Symphony was later recorded.
Explanation: The source indicates that neither of these works was published, and Rózsa suppressed them, though he later allowed the Symphony (minus its lost scherzo) to be recorded.
Miklós Rózsa relocated to Paris in 1931 at the behest of Arthur Honegger, who subsequently introduced him to the realm of film music.
Answer: False
Explanation: The source states that Miklós Rózsa moved to Paris in 1931 at the suggestion of Marcel Dupré, not Arthur Honegger. Arthur Honegger did introduce him to film music in 1934.
*Theme, Variations, and Finale, Op. 13*, garnered performances from distinguished conductors including Leonard Bernstein and Georg Solti.
Answer: True
Explanation: The source confirms that Rózsa's *Theme, Variations, and Finale, Op. 13*, was performed by prominent conductors such as Leonard Bernstein and Georg Solti.
Miklós Rózsa regarded *Thunder in the City* as his official cinematic debut, given its earlier release compared to *Knight Without Armour*.
Answer: False
Explanation: The source states that although *Thunder in the City* opened earlier, Miklós Rózsa considered *Knight Without Armour* (1937) his official film debut.
Miklós Rózsa was specifically engaged in Hollywood to compose the score for *The Four Feathers* after the initial composer was deemed inappropriate.
Answer: False
Explanation: The source indicates that Miklós Rózsa was brought to Hollywood for *The Thief of Bagdad* (1940) after its original composer was deemed unsuitable, not *The Four Feathers*.
Rózsa's *Theme, Variations, and Finale, Op. 13*, achieved significant recognition in the United States via a 1943 New York Philharmonic concert broadcast that marked Leonard Bernstein's conducting debut.
Answer: True
Explanation: The source confirms that Rózsa's *Theme, Variations, and Finale, Op. 13*, gained wide exposure in the United States through a 1943 New York Philharmonic concert broadcast featuring Leonard Bernstein's conducting debut.
The seventh variation from Rózsa's *Theme, Variations and Finale, Op. 13*, was incorporated into multiple episodes of the 1950s television series *Adventures of Superman*.
Answer: True
Explanation: The source confirms that the seventh variation of Miklós Rózsa's *Theme, Variations and Finale, Op. 13*, was used in several episodes of the 1950s television series *Adventures of Superman*.
Muir Mathieson, the music director for London Films, played a pivotal role in securing Rózsa's involvement in scoring *The Thief of Bagdad*.
Answer: True
Explanation: The source confirms that Muir Mathieson, music director of Alexander Korda's London Films, was instrumental in bringing Miklós Rózsa onto the production of *The Thief of Bagdad*.
Which orchestral composition signified Miklós Rózsa's initial European success, premiering in 1933?
Answer: *Theme, Variations, and Finale* (Op. 13)
Explanation: The source identifies *Theme, Variations, and Finale* (Op. 13) as Miklós Rózsa's early success in Europe, premiering in 1933.
By what means did Miklós Rózsa acquire American citizenship?
Answer: He applied for citizenship after *The Thief of Bagdad* production moved to the U.S. and became a citizen in 1946.
Explanation: The source states that Miklós Rózsa became an American citizen in 1946 after the production of *The Thief of Bagdad* moved to the United States, and he remained there.
Who was responsible for introducing Miklós Rózsa to the genre of film music in 1934?
Answer: Arthur Honegger
Explanation: The source states that Miklós Rózsa was introduced to film music in 1934 by his friend, Swiss composer Arthur Honegger.
Which motion picture did Miklós Rózsa designate as his official debut in film scoring?
Answer: *Knight Without Armour*
Explanation: The source indicates that Miklós Rózsa considered *Knight Without Armour* (1937) his official film debut.
What were the circumstances leading to Miklós Rózsa's engagement for *The Thief of Bagdad* (1940)?
Answer: The original composer, Oscar Straus, was deemed unsuitable due to his operetta-style approach.
Explanation: The source states that Miklós Rózsa was hired for *The Thief of Bagdad* (1940) after the original composer, Oscar Straus, was deemed unsuitable due to his operetta-style approach.
Which music director at London Films was pivotal in securing Rózsa's involvement in *The Thief of Bagdad*?
Answer: Muir Mathieson
Explanation: The source identifies Muir Mathieson, the music director of Alexander Korda's London Films, as instrumental in bringing Miklós Rózsa onto the production of *The Thief of Bagdad*.
Who advised Miklós Rózsa to relocate to Paris in 1931?
Answer: Marcel Dupré
Explanation: The source states that Miklós Rózsa moved to Paris in 1931 at the suggestion of French organist and composer Marcel Dupré.
Which distinguished conductor's inaugural broadcast in 1943 facilitated the widespread recognition of Rózsa's *Theme, Variations, and Finale, Op. 13*, in the United States?
Answer: Leonard Bernstein
Explanation: The source indicates that Leonard Bernstein's famous conducting debut in a 1943 New York Philharmonic concert broadcast helped Rózsa's *Theme, Variations, and Finale, Op. 13*, gain wide exposure in the United States.
*The Jungle Book Suite* represents the inaugural substantial recording of Hollywood film music, featuring narration by the film's lead actor, Sabu.
Answer: True
Explanation: The source confirms that *The Jungle Book Suite* was the first substantial recording of Hollywood film music, released as a 78-rpm album and narrated by the film's star, Sabu.
Miklós Rózsa's collaborative relationship with director Billy Wilder commenced with the film *Five Graves to Cairo* during Rózsa's tenure at Paramount.
Answer: True
Explanation: The source confirms that Miklós Rózsa began his collaborations with director Billy Wilder at Paramount, starting with *Five Graves to Cairo*.
The compositional process for *Spellbound* was characterized by consensus, with all stakeholders, including producer David O. Selznick, expressing profound satisfaction with Rózsa's contribution.
Answer: False
Explanation: The source explicitly states that the scoring process for *Spellbound* was contentious, with producer David O. Selznick, director Hitchcock, and Rózsa all expressing dissatisfaction.
David O. Selznick's pioneering radio promotion of the *Spellbound* score was instrumental in its success, notwithstanding his initial reservations about the music.
Answer: True
Explanation: The source confirms that despite his initial unhappiness with the score for *Spellbound*, David O. Selznick's innovative radio promotion significantly contributed to its success.
Jerry Goldsmith identified Miklós Rózsa's score for *Ben-Hur* as a pivotal influence in his choice to embark on a career in film music.
Answer: False
Explanation: The source states that Jerry Goldsmith cited Miklós Rózsa's score for *Spellbound*, not *Ben-Hur*, as a key influence in his decision to pursue a film music career.
The foreboding rhythmic motif composed by Rózsa for *The Killers* subsequently became the iconic signature theme for the television series *Dragnet*, culminating in legal action.
Answer: True
Explanation: The source confirms that the ominous rhythmic figure from Rózsa's score for *The Killers* became the signature theme for *Dragnet*, leading to a lawsuit and shared credit.
The *Mark Hellinger Suite* comprised a selection of music from Rózsa's scores for *The Killers*, *Brute Force*, and *The Naked City*.
Answer: True
Explanation: The source confirms that the *Mark Hellinger Suite* was a six-movement suite compiled from Rózsa's scores for *The Killers*, *Brute Force*, and *The Naked City*.
Eugene Zador, a Hungarian émigré, provided orchestration assistance for the majority of Rózsa's Hollywood film scores.
Answer: True
Explanation: The source confirms that Eugene Zador, a fellow Hungarian immigrant and noted composer, assisted Miklós Rózsa with the orchestration of most of his Hollywood film music.
In composing for *Quo Vadis*, Rózsa conducted extensive research into ancient Roman sources to authentically recreate the music of antiquity.
Answer: False
Explanation: The source states that for *Quo Vadis*, Rózsa researched ancient Greek sources, not Roman, to simulate the music of antiquity.
*Ben-Hur* is widely regarded as Rózsa's cinematic musical masterpiece, distinguished by its considerable length and complex Wagnerian system of leitmotifs.
Answer: True
Explanation: The source confirms that *Ben-Hur* is considered Miklós Rózsa's cinemusical masterpiece due to its extensive length and intricate Wagnerian web of leitmotifs.
The renowned composition 'Parade of the Charioteers' originated from Rózsa's score for *King of Kings*.
Answer: False
Explanation: The source states that the popular piece 'Parade of the Charioteers' emerged from Miklós Rózsa's score for *Ben-Hur*, not *King of Kings*.
Rózsa regarded *Ben-Hur* as the most challenging film score he ever undertook.
Answer: False
Explanation: The source states that Miklós Rózsa considered *Time After Time* (1979) to be the hardest film score he ever worked on, not *Ben-Hur*.
For which cinematic production did Miklós Rózsa receive his inaugural Academy Award?
Answer: *Spellbound*
Explanation: The source indicates that Miklós Rózsa won his first Academy Award for *Spellbound* (1945).
What notable accomplishment did *The Jungle Book Suite* signify within the history of Hollywood film music?
Answer: It was the first substantial recording of Hollywood film music, released as a 78-rpm album.
Explanation: The source indicates that *The Jungle Book Suite* became the first substantial recording of Hollywood film music, released as a 78-rpm album.
Which director initiated a series of collaborations with Miklós Rózsa at Paramount, commencing with *Five Graves to Cairo*?
Answer: Billy Wilder
Explanation: The source states that Miklós Rózsa began a series of collaborations with director Billy Wilder at Paramount, starting with *Five Graves to Cairo*.
Which distinctive instrument was prominently featured in Miklós Rózsa's Academy Award-winning score for *Spellbound*?
Answer: Theremin
Explanation: The source indicates that Miklós Rózsa's Academy Award-winning score for *Spellbound* featured a pioneering use of the theremin.
What enduring influence did the score for *Spellbound* exert upon the composer Jerry Goldsmith?
Answer: He cited it as a key influence in his decision to pursue a career in film music.
Explanation: The source states that composer Jerry Goldsmith cited Miklós Rózsa's score for *Spellbound* as a key influence in his decision to pursue a career in film music.
The foreboding rhythmic motif from Rózsa's score for *The Killers* gained renown as the signature theme for which radio and television broadcast?
Answer: *Dragnet*
Explanation: The source indicates that the ominous rhythmic figure from Rózsa's score for *The Killers* became the signature theme for the radio and television program *Dragnet*.
Under what title was the *Mark Hellinger Suite* subsequently recorded?
Answer: *Background to Violence*
Explanation: The source states that the *Mark Hellinger Suite* was later recorded under the title *Background to Violence*.
Which individual provided assistance to Miklós Rózsa in orchestrating the majority of his Hollywood film scores?
Answer: Eugene Zador
Explanation: The source identifies Eugene Zador, a fellow Hungarian immigrant and noted composer, as assisting Miklós Rózsa with the orchestration of most of his Hollywood film music.
Which cinematic production inaugurated Miklós Rózsa's 'historical period' at M-G-M, prompting his research into ancient Greek sources?
Answer: *Quo Vadis*
Explanation: The source identifies *Quo Vadis* (1951) as the film that initiated Miklós Rózsa's 'historical period' at M-G-M, for which he researched ancient Greek sources.
Which widely recognized musical composition originated from Miklós Rózsa's score for *Ben-Hur*?
Answer: 'Parade of the Charioteers'
Explanation: The source states that the piece 'Parade of the Charioteers' emerged from Miklós Rózsa's score for *Ben-Hur*.
Miklós Rózsa's professional output was predominantly focused on concert music, with film scoring being a secondary, occasional pursuit.
Answer: False
Explanation: The source indicates that Miklós Rózsa maintained a strong commitment to both film scoring and absolute concert music throughout his career, and he is widely recognized for nearly one hundred film scores, contradicting the idea of film scoring as a secondary, occasional interest.
Miklós Rózsa titled his autobiography *Ben-Hur* to signify his profound commitment to epic historical cinema.
Answer: False
Explanation: The source states that Miklós Rózsa's autobiography is titled *Double Life*, a title he adopted to symbolize his desire to keep his personal concert music separate from his film career, not *Ben-Hur*.
Rózsa's contract with M-G-M stipulated provisions allowing him to refuse assignments and to instruct a course on film music at the University of Southern California.
Answer: True
Explanation: The source confirms that Miklós Rózsa's M-G-M contract allowed him to decline assignments and teach a course on film music at the University of Southern California.
Rózsa's M-G-M contract specified an annual allowance of two months for his personal compositional endeavors.
Answer: False
Explanation: The source states that by 1952, Rózsa's MGM contract granted him three months each year for composing concert music, not two months.
Rózsa's *Violin Concerto, Op. 24*, was commissioned for Gregor Piatigorsky and subsequently integrated into the score for *The Private Life of Sherlock Holmes*.
Answer: False
Explanation: The source states that Rózsa's *Violin Concerto, Op. 24*, was composed for Jascha Heifetz, not Gregor Piatigorsky, although it was later adapted for *The Private Life of Sherlock Holmes*.
The *Sinfonia Concertante, Op. 29*, a composition for violin, cello, and orchestra, was commissioned by Jascha Heifetz and Gregor Piatigorsky, who subsequently performed the complete work in collaboration.
Answer: False
Explanation: The source states that while the *Sinfonia Concertante, Op. 29*, was commissioned by Jascha Heifetz and Gregor Piatigorsky, they never performed the finished work together, though they recorded a reduced version of its slow movement.
Miklós Rózsa's sacred choral compositions, notably *The Twenty-Third Psalm*, received commercial recording in 1978.
Answer: True
Explanation: The source confirms that a commercial recording of Miklós Rózsa's sacred choral pieces, including *The Twenty-Third Psalm, Op. 34*, was produced in 1978.
Which celebrated violinist actively promoted Miklós Rózsa's concert compositions?
Answer: Jascha Heifetz
Explanation: The source identifies Jascha Heifetz as a renowned violinist who championed Miklós Rózsa's concert works.
Miklós Rózsa chose the title *A Double Life* for his memoir to represent what concept?
Answer: His desire to keep his personal concert music separate from his film career.
Explanation: The source states that Rózsa adopted the film's title *A Double Life* for his memoir to symbolize his desire to keep his personal concert music separate from his film career.
What distinctive provision was incorporated into Miklós Rózsa's long-term contract with M-G-M, signed in 1948?
Answer: The right to stipulate time off each year for his 'serious' or personal composing.
Explanation: The source states that Miklós Rózsa's M-G-M contract included the right to stipulate time off each year for his 'serious' or personal composing.
For which distinguished musician was Rózsa's *Violin Concerto, Op. 24*, specifically composed?
Answer: Jascha Heifetz
Explanation: The source states that Rózsa's *Violin Concerto, Op. 24*, was composed for the renowned violinist Jascha Heifetz.
Which celebrated cellist commissioned Rózsa's *Cello Concerto, Op. 32*?
Answer: János Starker
Explanation: The source indicates that Rózsa's *Cello Concerto, Op. 32*, was written at the request of the celebrated cellist János Starker.
For what instrumental configuration was the *Sinfonia Concertante, Op. 29*, commissioned?
Answer: Violin, cello, and orchestra.
Explanation: The source states that the *Sinfonia Concertante, Op. 29*, was a composition for violin, cello, and orchestra.
Among Rózsa's sacred choral compositions, which one received a commercial recording in 1978?
Answer: *The Twenty-Third Psalm*
Explanation: The source indicates that *The Twenty-Third Psalm, Op. 34*, was among Rózsa's sacred choral works commercially recorded in 1978.
What is the official title of Miklós Rózsa's autobiographical work?
Answer: *Double Life: The Autobiography of Miklós Rózsa, Composer in the Golden Years of Hollywood*
Explanation: The source states that Miklós Rózsa's autobiography is titled *Double Life: The Autobiography of Miklós Rózsa, Composer in the Golden Years of Hollywood*.
As of 1952, what was the annual duration of leave stipulated in Rózsa's M-G-M contract for the purpose of composing concert music?
Answer: Three months
Explanation: The source states that by 1952, Rózsa's MGM contract granted him three months each year to focus on composing concert music.
Rózsa subsequently incorporated elements of his *Violin Concerto, Op. 24*, into the score of which film?
Answer: *The Private Life of Sherlock Holmes*
Explanation: The source states that Rózsa later adapted portions of his *Violin Concerto, Op. 24*, for the score of Billy Wilder's film *The Private Life of Sherlock Holmes* (1970).
The *Sinfonia Concertante, Op. 29*, was commissioned by Jascha Heifetz and Gregor Piatigorsky; however, what transpired regarding their performance of the completed composition?
Answer: They never performed the finished work, though they recorded a reduced version of its slow movement.
Explanation: The source states that Jascha Heifetz and Gregor Piatigorsky never performed the finished *Sinfonia Concertante, Op. 29*, although they did record a reduced version of its slow movement.
Miklós Rózsa initially refused to compose the score for *The Green Berets* due to his general aversion to war films.
Answer: False
Explanation: The source indicates that Miklós Rózsa initially declined to score *The Green Berets* because he stated, 'I don't do westerns,' not because he generally avoided war films.
Rózsa's final film score was for *Dead Men Don't Wear Plaid*, a comedic tribute to the *film noir* genre.
Answer: True
Explanation: The source confirms that Miklós Rózsa's last film score was for *Dead Men Don't Wear Plaid*, which was a comic homage to the *film noir* genre.
Miklós Rózsa's career as a film composer concluded in 1982 following a stroke he experienced while vacationing in Italy.
Answer: True
Explanation: The source confirms that Miklós Rózsa's film scoring career ended in 1982 after he suffered a stroke while on holiday in Italy.
Miklós Rózsa's autobiography bears the title *The Golden Age of Hollywood: A Composer's Journey*.
Answer: False
Explanation: The source states that Miklós Rózsa's autobiography is titled *Double Life: The Autobiography of Miklós Rózsa, Composer in the Golden Years of Hollywood*.
Miklós Rózsa's spouse, Margaret Finlason, predeceased him in 1990.
Answer: False
Explanation: The source states that Miklós Rózsa's wife, Margaret Finlason, passed away in 1999, four years *after* his death in 1995.
Miklós Rózsa regarded Billy Wilder as one of the select directors who genuinely comprehended the role of music in cinematic narrative.
Answer: False
Explanation: The source states that Miklós Rózsa cited Alain Resnais, not Billy Wilder, as one of the few directors who truly understood the function of music in film.
What was Miklós Rózsa's initial rationale for declining to compose the score for *The Green Berets* (1968)?
Answer: He stated, 'I don't do westerns.'
Explanation: The source indicates that Miklós Rózsa initially declined to score *The Green Berets* (1968) because he stated, 'I don't do westerns.'
Among his film scores from the 1970s, which did Miklós Rózsa deem his most arduous compositional undertaking?
Answer: *Time After Time*
Explanation: The source states that Miklós Rózsa considered *Time After Time* (1979) to be the hardest film score he ever worked on.
To which cinematic genre did Miklós Rózsa's final film score, *Dead Men Don't Wear Plaid* (1982), pay tribute?
Answer: Film Noir
Explanation: The source indicates that Miklós Rózsa's last film score, *Dead Men Don't Wear Plaid*, was a comic homage to the *film noir* genre.
Which incident precipitated the cessation of Miklós Rózsa's film scoring career in 1982?
Answer: He suffered a stroke while on holiday in Italy.
Explanation: The source states that Miklós Rózsa's film scoring career ended after he suffered a stroke while on holiday in Italy in 1982.
Within Tom Clancy's novel *Red Rabbit*, what is the familial connection between the fictional character 'Jozsef Rozsa' and Miklós Rózsa?
Answer: He is noted as a cousin of the Hollywood composer Miklós Rózsa.
Explanation: The source states that in Tom Clancy's novel *Red Rabbit*, the fictional character 'Jozsef Rozsa' is noted as a cousin of the Hollywood composer Miklós Rózsa.
Which film director did Miklós Rózsa acknowledge as one of the rare individuals who genuinely grasped the intrinsic function of music within cinema?
Answer: Alain Resnais
Explanation: The source states that Miklós Rózsa cited Alain Resnais as one of the few directors who truly understood the function of music in film.
Which prior film by Alain Resnais had Rózsa particularly admired?
Answer: *Madame Bovary* (1949 version)
Explanation: The source states that Rózsa had admired Alain Resnais's work on the 1949 version of *Madame Bovary*.
Which composition, completed in 1989, stands as one of Miklós Rózsa's final concert works?
Answer: *Sonata for Ondes Martenot, Op. 45*
Explanation: The source indicates that one of Miklós Rózsa's last concert works was the *Sonata for Ondes Martenot, Op. 45* (1989).