Yes, and I wonder how much Hermann blamed Welles for the debacle. They only made one more film together (JANE EYRE), which was another big loss for Welles, like the loss of Houseman.
The cutting of the two porch nocturnes was probably about 10 minutes of music right there, and Robert Wise even said the 1st porch scene was “a darn good scene” by itself, but most of the people involved seemed to feel it slowed the picture too much. There are also a couple scenes where, as you say, the music cues were dropped, but it’s possible the studio made the right decision in dropping them, such as the after-dinner scene of George and Fanny on the stairs.
“Antimacassar” is probably the biggest loss, in terms of the music. It’s wistful and yearning quality reminds me of a later Hermann piece “The Road and Finale” from Truffaut’s FAHRENHEIT 451, a piece that’s also well worth hearing apart from the movie. In fact, like many pieces Hermann wrote for lesser films, I think it’s better heard by itself:http://www.youtube.com/watch?v=Rah6QNYV2fw