I have a copy, too. Jarre is one of those new voices in filmmusic - at least back in the 60s - who was sometimes deservedly, but often unfairly, bashed by those who embraced Golden Age composers as being exemplary of what a film score should sound like. Jarre - with some notable misses [some of his electronic doodlings are almost unlistenable, to me. WITNESS is an exception.]was trying to advance his art in an innovative way. Quite often, the critics are indulging in selective perception.

I am fond of his COLLECTOR score, written for William Wyler's film. It's small ensemble, with electronics, but the integrity of the motifs cannot be questioned. It was a dramatic moment when his central theme received a lush string arrangement, in the final moments of the film.

Wyler clearly knew many of the Golden Age greats - Steiner and Rozsa, as examples. It would be interesting to know how he hooked up with Jarre, or was this simply a commercial decision, imposed by Columbia, following in the wake of Jarre's success with LAWRENCE, released by the same studio.

But I do agree that there are many fine moments in Jarre's orchestral scores. I bought a maudlin film, PRANCER, on DVD, just to hear Jarre's complete score. I liked the theme, after hearing it on a Milan compilation.

Bob