Thanks to Jeff Dunn for his informative answer. He writes in part:

>Sorry to say, it's that very 5-note theme: C-B-G-A-F that permeates the
>Rosza score as much as the Takemitsu, but as you point out, in totally
>different character.  Rozsa begins in the Prelude with the theme starting
>on F, but for the chorale "Miracle" finale, it begins on C.

Don't be sorry - we basically agree.  I just didn't ride far enough above
timbre and tone (as in poem), and I also hadn't heard Rozsa's Ben Hur
outside the cinema before today (I've done my homework, and listened to
"Miracle" on line).

Takemitsu's five note motive opening "From me flows..." uses the last
five notes in descending Lydian mode, which become A-G#-E-F#-D - as such,
transposed, or giving a sense of pitch centre throughout.  The intervals
are exactly the same.

>It would be hard to believe that Takemitsu had never seen "Ben Hur," but
>it's possible.  If he had, and if the "From me" refers to God or the God in
>us, the use of the motto may have been deliberate; otherwise, subconscious.

He most probably did see Ben Hur and could have used it subconsciously,
I suppose.  It is difficult to imagine he inelegantly borrowed the theme
without ever refering to it in his writings or programme notes.  Mentioning
Rozsa, if such was the case, would definitely have been more in character,
and that was my point.  Yet maybe he was thinking more on modal lines as he
sometimes did and we have a Lydian coincidence here.

I don't think he ever used the G-G-G-E-flat motive...  but now I'm not sure
;-)

Regards,

Christine Labroche