01	Ben Hur: Overture						03:54
	02	Ben Hur: Star Of Bethlehem / Adoration Of The Magi						03:52
	03	Ben Hur: Rowing Of The Galley Slaves						02:42
	04	Ben Hur: Alleluia						02:12
	05	Ben Hur: Parade Of The Charioteers						03:28
	06	Ben Hur: Miracle And Finale						05:36
	07	Quo Vadis: Prelude						01:47
	08	Quo Vadis: Ave Caesar March						04:13
	09	Quo Vadis: Fertility Hymn						01:17
	10	Quo Vadis: Assyrian Dance						02:01
	11	Quo Vadis: Marcus And Lygia						04:54
	12	Quo Vadis: Miracle And Finale						04:10
	13	King Of Kings: Overture						04:05
	14	King Of Kings: Roman Legions						01:39
	15	King Of Kings: Nativity						02:01
	16	King Of Kings: The Feast Of Passover						02:07
	17	King Of Kings: Herod's Feast						01:10
	18	King Of Kings: Miracles Of Christ						02:54
	19	King Of Kings: The Lord's Prayer						02:27
	20	King Of Kings: Pieta						03:03
	21	King Of Kings: Resurrection And Finale						02:23

From the Classics Today review:

10/10
Miklós Rósza's music usually constituted one of the more compelling aspects of
the films he scored. This is especially the case in his Biblical epics, three of
which are presented here in the form of "choral suites". A more accurate term,
perhaps, would be "suites with chorus", for while the scores for Ben-Hur, Quo
Vadis, and King of Kings make extensive use of choral forces, the music is
predominantly orchestral. These suites were compiled and arranged by
others--Daniel Robbins in Ben Hur and King of Kings, Christopher Palmer in Quo
Vadis--but both editors preserve the epic sweep of Rósza's music while
constructing a compelling moment-by-moment narrative.

Ben-Hur certainly is the best known of the three, with its pulse-pounding
"Rowing of the Galley Slaves" and the majestic "Parade of the Charioteers"
instantly conjuring the film's dramatic panorama. Rósza's evocative choral
writing becomes especially transcendent in the "Star of Bethlehem", "Alleluia",
and "Miracle" sections. Quo Vadis is more overtly vocal, beginning with the
movie's title sternly intoned by the male chorus in the Prelude.

The Mormon Tabernacle Choir's voluminous and sumptuous sound successfully
captures the music's lush spirituality throughout Quo Vadis and in the somewhat
gentler and more meditative score for King of Kings. In "Miracles of Christ" and
"Resurrection and Finale" Rósza's arrestingly beautiful and luminous melodies
create moments of near-rapture, while "Feast of Passover" and "Herod's Feast"
flaunt the composer's skill at recreating the imaginary festive sounds of the
Middle East.

Erich Kunzel once again displays his knack for presenting film
music as of it were born for the concert hall, something he achieves with the
virtuoso and fully committed playing of the Cincinnati Pops Orchestra. Telarc's
recording offers vivid imaging, wide dynamics, and crystal-clarity in both
regular and SACD stereo, as well as spectacular multichannel playback. For film
buffs and serious music lovers alike, this is just plain terrific.