For the most part, Moross's output divides neatly into chamber music and theater work. As a composer, he's fairly modest in his aims. He doesn't wish to conquer. Both composers show a clarity of form, equal distribution of interest among parts, suitability of music to instrument, economy of expression, and, despite whatever psychological depths they plumb, a view of chamber music as an opportunity for players to get together. Mozart's music for me may go deeper, but Moross's surface is just as beautifully worked.
Collectors hunt the original cast album.
Given the current state of affairs, you almost can't believe Broadway ever hosted anything this good. However, the closest thing he has to a classical hit is the ballet Frankie and Johnny , written for Chicago choreographer Ruth Page and recorded at least once before. It's the familiar story and the familiar lyrics, but after an initial tip of his hat to the original tune, Moross is off and away on a witty exploration of early blues and ragtime, all with his own music. On the Town dance numbers. Compared to Porter's well-known examples, Biguine insinuates more while remaining rougher.