Performed by the Orchestra of the Americas
produced by Anton Kwiatkowski
Track 2, 3, 4, 5, 6, 7
Performed by the City of Prague Philharmonic
Produced by James Fitzpatrick
Performed by John Beal and the London Symphonic Assembly
Produced and Arranged by John Beal
Performed by le Grand Orchestre Symphonique
Produced and Conducted by Michel Legrand
Compilation Produced by
Ford A. Thaxton
Doerte Lau and Wolfgang Fenchel
Digitally Edited and Mastered by
James Nelson at Digital Outland, Tacoma, Washington
"Evergreen: Music From the Films of Barbra Streisand" is a collection of newly-recorded versions of songs from
Barbra movies, done by symphony orchestra. It includes music from 9 movies, including The Eyes of Laura Mars,
which Barbra sang the title theme for but did not appear in.
Overall, this is a highly listenable album, the packaging is GORGEOUS, and it includes a little booklet with a
short write up on Barbra. I will definitely be playing this album more.
Wonderfully Musical and Romantic .
I just love this new collection. These are wonderfully rich orchestra renditions of the great melodies written for
and by Barbra Streisand and remind me not only of the great films from which they came, but of the incredible
talent she has shared with us over the years. This will be the major cd in my collection for evenings with friends
who appreciate truly fine music.
Bobbie Schuman from Park Ridge, Illinois
For Eternal Romantics
It's been said, "You either love Barbra Streisand or you don't." The same can probably be said of Evergreen,
Sonic Images' latest release of the best selections from her movies. The compilation enjoys a strong, emotionally
cohesive theme, brewing with the same lofty, romantic-dramatic yearnings and awakenings as Streisand's
characters and stories. In a manner of speaking, this is very much a "chick flick" collection, one for eternal
romantics and sensitive aspirants. From the first track, "Funny Girl" to the last, "Yentl," the album dances to
sweeping, orchestral rhapsodies for the heart. And despite the fact that the album revolves around the diva, all
tracks are completely instrumental, with no vocals whatsoever.
Each track is a superb selection of each score. Melodic, thematic, rich, these excerpts only leave you wanting
more. Of course, the cultural icons, "The Way We Were," and A Star is Born's "Evergreen," connect immediately.
But it is the other cues that make this album a prize. The Funny Girl "Medley" is an especially spirited track with
a broader range. John Beal's artful performance of Nuts is one of the more subtle and quietly seductive cues
on the album. The best track is possibly "Prisoner" from The Eyes of Laura , a luminous saxophone theme that
flawlessly textured with sensational strings. And Yentl score fans hit the jackpot with the comprehensive
orchestral score suite that is not available on the Yentl soundtrack. ****
Helen San from www.cinemusic.net
Evergreen: Music from the Films of Barbra Streisand: (compilation) Like previous compilations by the
Sonic Images label, this album features re-recordings that celebrate the career of a popular artist. This time,
the tribute goes to Barbra Streisand, with representations of songs and themes from films she directed, produced,
starred in, and performed for. With a few notable exceptions, this compilation album contains all the most famous
of these works. They are non-vocal, with instrumental
performances by veteran musicians from the City of Prague Philharmonic, the Orchestra of the Americas,
John Beal and the Symphonic Assembly, and le Grand Orchestre Symphonique. On the whole, the performances
range from those that are "true to the original" to those that have a bit of artistic liberty applied to them.
Overall, this album comes down to the simple question of whether or not you enjoy Streisand's work, and could
enjoy a musical tour of her cinematic career. It can be argued that many of the themes suffer without Streisand's
performances herself (with the old question, "why listen to it when she's not singing it herself?"). The instrumentals
vary in quality from track to track, with the majority of them enjoyable. Streisand fans should certainly delight in
an elegant and relaxing mix of her career. ***
This is a welcome all-instrumental tribute to Barbra as multi-talented singer, actress, screenwriter, director and
The most extended and impressive track is the final Yentl Suite for Harp and orchestra from music by Michel
Legrand, Marilyn Berman and Alan Berman. It features Le Grand Orchestre Symphoniqe conducted by Legrand
and the luminous playing of talented harpist Catherine Michel. The Suite is sweetly and nostalgically meditative,
romantic and passionate, and wildly exuberant. It even climaxes with a very Ravelian Bolero. Harp and
orchestra are nicely balanced and the arrangements and orchestrations scintillate.
I wish I could be as enthusiastic about the opening medley from Funny Girl played by the Orchestra of the
Americas which make the material sound oddly flat-footed. This music deserves much more zing than this.
The City of Prague Philharmonic fare better in their six contributions: The Way We Were (Marvin Hamlish's well-
loved melody and celebrated in suitably warm sentimental style); The Mirror Has Two Faces (another winning
colourful and atmospheric score with some dramatic dissonances by Marvin Hamlisch); On A Clear Day You Can
See Forever (again a warmly romantic approach); James Newton Howard's lovely music for The Prince of Tides
(same comment although the OST album has the edge); A Star is Born (the lovely Evergreen melody) and The
Eyes of Laura Mars (in contrast this is a more gritty dramatic score for this thriller). What was Babs's connection
with this film? She sang the Main Title song.
Finally I would praise the contribution by John Beal - his arrangement and production of the end credits music for
Nuts - a brief but atmospheric and emotionally charged work for piano and orchestra.
Ian Lace from Film Music U.K.
One thing about film musicals is that they tend to lend themselves to memorable themes. Most of Barbara
Streisand's films contain themes so memorable that even people who haven't seen the films are likely to know
the songs. Many of these themes are presented in a new album by Sonic Images, entitled: "Evergreen - Music
from the Films of Barbara Streisand."
First off is a charming medley from Funny Girl, including the ever-famous song "People". Performed in 1992 by
the Orchestra of the Americas under the baton of Paul Freeman, this medley has enough melody and vibrancy to
give the listener an overview of the entire song repertoire from Funny Girl in just over six minutes. Following that
is The Way We Were, another classic song that almost everyone would recognize. The main titles from The
Mirror Has Two Faces and The Prince of Tides as well as the end titles from Nuts are on the disc as well. The
latter is performed by John Beal and the London Symphonic Assembly. Once again, Beal's arrangement and
performance is top-notch, and it's rather disappointing that he didn't do more for this album.
Other orchestral renditions include music from On A Clear Day You Can See Forever, A Star Is Born, The Eyes of
Laura Mars, and Yentl. All of which are performed wonderfully by the City of Prague Philharmonic, with the
exception of the latter which was performed by Le Grand Ochestre Symphonique conducted Michel Legrand. As
such, it is probably one of the more accurate film suites on the album, since the Legrand also wrote the score to
the film. Performed as a Suite for Harp and Orchestra, the harp work by soloist Catherine Michel is quite
This album was a pleasant surprise for someone who wasn't too familiar with Streisand's films. With music by
notable composers such as Marvin Hamlisch, James Newton Howard, Michel Legrand, and of course, Barbara
Streisand, there was plenty of talent going into these works. The CD is one that I would suggest listening to while
relaxing in a hammock sipping lemonade. At least, that's the feeling it evoked in me (most notably during
portions of the Yentl suite). I hope it evokes those feelings in you too.
Dan Goldwasser from SoundtrackNet
This is a very pleasant Pops style CD of instrumental music from films starring the multi-talented Barbra
Streisand. Not only does she act and direct, but also she wrote two of the film themes heard on this CD.
Some of the 9 tracks made more of an impression on my ears than others. For example, I especially enjoyed the
sultry jazz sound on track 5 (THE EYES OF LAURA MARS), the soothing oboe and strings theme on track 7 (THE
PRINCE OF TIDES), and the serene theme for horn, piano (sensitively played by John Beal) and strings heard on
track 8 (NUTS) - a nice tune by Miss Streisand and a memorable arrangement by Mr. Beal. I didn't care too much
for the sappy unidentified arrangement on track 1 (FUNNY GIRL), and the rather mundane arrangement on track
4 (ON A CLEAR DAY YOU CAN SEE FOREVER). But all the other tracks were enjoyed. The last track is
especially welcome - a lovely 14 minute suite for harp and orchestra, arranged and conducted by Michel Legrand.
There is a informative three page tribute to Barbra Streisand by Didier C. Deutsch.
With a few exceptions, this is a very good listening experience which should especially delight fans of the
inimitable Barbra. Especially recommended for leisurely listening and romantic evenings with that
Roger Hall from Film Music Review
Not a bad idea for a CD. Makes you wonder why other artists haven't been give this kind of a tribute. Evergreen is
an inspired instrumental tribute to the multi-talented "actress who sings" as seen through the eyes of the most
well-known films in which she has acted or in which she has sung a theme song. Featuring informative liner
notes by the music historian Didier C. Deutsch, the recording boasts the work of major philharmonic orchestras
(the London Symphonic Assembly, the City of Prague Philharmonic, the Orchestra of the Americas) captured in
clean, crisp digital sound. High points include the overture to "On A Clear Day You Can See Forever", the main
titles to "The Prince of Tides" and "The Mirror Has Two Faces" and a dynamic 14-minute suite for harp and
orchestra conducted by Michel Legrand of his Oscar-winning "Yentl".
Frank Darmstadt from New Beats Music
Funny that no one else has been thinking of producing a compilation CD with music from Barbra Streisand films
until now, when Sonic Images releases Evergreen - Music from the Films of Barbra Streisand. Featuring music
from films like Funny Girl, The Prince of Tides, Yentl and The Way We Were, among others, Evergreen is really a
perfect title for this compilation. They are all classic films, with classic songs and scores. Most people may not
know the title of the songs, or were they are taken from, but it certainly rings a bell when hearing them.
It comes as no surprise to find that most, if not all, of the music on the CD are romantic, lush music. Opening with
a medley from Funny Girl, the compilation moves on with Marvin Hamlisch, Alan and Marilyn Bergman's classic
The Way We Were, the "Main Title" from The Mirror Has Two Faces by Hamlisch, On a Clear Day You Can See
Forever and other familiar pieces. Highlights are James Newton Howard's wonderful "Main Title" for The Prince of
Tides, wonderfully performed by the City of Prague Philharmonic. John Beal and the London Symphonic
Assembly gives us a beautiful version of Streisand's "End Credits" from Nuts, arranged by John Beal. Ending the
compilation is a 14 minute suite for harp and orchestra from Yentl.
It should also be pointed out that there are no vocal tracks on this compilation. Most of the pieces are performed
by The City of Prague Philharmonic (licenced from Silva Screen) and other orchestras, such as The Orchestra of
the Americas. But the performances, as well as the recordings, are all top notch, and I find nothing to critize there.
The packaging is beautiful - as always when it comes to releases by Sonic Images - including a short biography
on Barbra Streisand by Didier C. Deutsch. Rating: ****
Andreas Lindahl from Score!
Like it or not, Barbra Streisand is inarguably one of the most successful and influential female vocalists of the
last thirty years and, despite the sneers and jokes and tales of behind the scenes bitchiness, she has built her
career on some genuinely high quality work both on Broadway and in Hollywood. This new compilation from Sonic
Images and producer Ford A. Thaxton is a celebration of the music that accompanied her greatest silver screen
triumphs, from her big screen debut Hello Dolly! in 1968 to her last outing to date, the romantic comedy The Mirror
Has Two Faces in 1996.
True Streisand fans beware, though - none of the nine tracks included here feature Babs' immense vocal talents,
but are orchestral through-and-through, performed by quality orchestras like The Orchestra of the Americas, The
City of Prague Philharmonic and The London Symphonic Assembly, under the capable batons of conductors Nic
Raine, Stepan Konicek, Paul Freeman and John Beal. Each of them feature the lush, syrupy, romantic melodies
that, for some, may be just a little too far on the saccharine side, but are undeniably lovely and typically
The album opens with a lively, feelgood medley from Jule Styne and Bob Merrill's Broadway smash Funny Girl,
which was transferred to the big screen in 1968 and bagged Barbra a Best Actress Oscar. Another stage to
screen transition, Burton Lane and Alan Jay Lerner's 'On A Clear Day You Can See Forever', combines modern-
sounding themes with some lovely, vibrant Victoriana, capturing the essence of the story about a modern day
woman who, though the wonders of psychiatry, discovers that she had a previous life in 19th century England.
Two pieces from veteran composer Marvin Hamlisch - the immediately recognisable "Memories" from The Way We
Were and the 'Main Title' from The Mirror Has Two Faces - make welcome appearances, some which is especially
gratifying as Hamlisch is an undervalued composer whose efforts are often overlooked in favour of the vocalists
who lend their talents to his sparkling melodies. Some slightly moodier material is heard in the 'Prisoner' cue from
The Eyes of Laura Mars by John Michael DeSautels and Karen Susan Lawrence, neither of whom I have heard
of, but whose tempestuous saxophone and string writing I am now rather fond. Streisand's own music is
represented by two tracks - the famous 'Evergreen' from A Star Is Born, which won an Oscar for her and her
lyricist Paul Williams, and the unusually restrained and dramatic End Credits music from the 1987 film Nuts, in
which Streisand portrayed a woman whose sanity is questioned in court - and film score fans will undoubtedly be
familiar with James Newton Howard's sugary theme from The Prince of Tides, but by far the best is the
wonderful 14-minute 'Suite for Harp and Orchestra' from Michel Legrand's Yentl, conducted by the composer
himself and featuring a sublime virtuoso performance from Catherine Michel.
More than any other I have heard, this piece illustrates why Michel Legrand was such a popular composer in the
sixties and seventies, why he received so many Oscar nominations, and why it is astounding that he gets so
little work these days. The Yentl suite plays like a serious classical composition, with beautifully structured
string melodies, a truly gorgeous flowing harp, a superb bolero beat and faint, almost subliminal accents which
give the whole piece a traditional Jewish inflection.
This album has the potential to appeal not only to fans of Barbra Streisand, but also admirers of the composers
who work tirelessly in her immense shadow on films, and then generally do not receive much credit. It is
especially gratifying to see Michel Legrand and Marvin Hamlisch emerge in such a positive light, and I strongly
urge film music fans to indulge in this compilation. Even if you generally find Streisand a turn-off, try to convince
yourself that putting her name on the CD was the only way to get the superb orchestral music from Yentl, Nuts
and The Mirror Has Two Faces under one roof. Do that, and you will find much to enjoy. Evergreen comes highly
recommended. Rating: ****
Jonathan Broxton from Movie Music U.K.
Whatever one might think of her, Barbra Streisand has become a film icon in the United States. Usually mixing
music and florid expressions of feelings, the films in which she stars, and which she also directs, have often been
parodied, derided, adored and hated. Her star status, Barbra Streisand developed and nurtured it over the years,
first as a singer, then as an actress, and lately as a film director. Sonic Images recognizes and salutes this stellar
path through a completely orchestral compilation in which some of Streisand's most recognizable signature songs
and themes have been assembled.
Listening to this compilation, the initial reaction is one of glee to have these moments played by an orchestra,
rather than having Barbra Streisand's vocals, in a unique effort to pay homage to the artist without having her
become an integral part of the process in the selected numbers. Generally speaking, the renditions are on a high
quality level. The City Of Prague Philharmonic has become an exceptional orchestra on which one can now rely
for years to come for rerecordings or original recordings (Durango, Iron Giant) of film scores.
The various selections reflect the essential moments in Barbra Streisand's career, and some themes bring back to
mind with great delight films that had been lost in one's memory. Of course, the prevalent tone here is for long
romantic excerpts. From the festive Funny Girl, to the delicious suite for harp and orchestra Michel Legrand wrote
and arranged (Yentl), Evergreen will please first and foremost those who love sultry ambient sounds and syrupy
melodies. Among the highlights, one could mention James Newton Howard's essential The Prince Of Tides, in a
flawless interpretation that makes it one of the most memorable moments in the album, Nuts, and the surprising
The Eyes Of Laura Mars, made even more attractive thanks to a hot and languorous saxophone.
But in the final analysis, one might wonder who might be interested in this compilation. Fans of the actress/
director/singer? Lovers of orchestral film music? The question is not answered by this album which makes few
concessions and features soothing sounds, a little too syrupy perhaps, but the purpose of which is to present a
series of orchestral suites without the American star's vocals.
Arnaud Damian from TraxSounds
Babs' Hits All In One
I hate Barbra Streisand. Absolutely, completely, utterly hate her. I see little or no evidence of talent, and her
popularity astounds me. Bear this in mind when I say that I really rather enjoyed Sonic Images' new compilation
of themes from her films, Evergreen. The concept was to take famous (and not-so-famous) pieces from movies
she's starred in and/or directed and offer high quality re-recordings of them.
Streisand was launched into the public psyche after her appearance in Funny Girl, and the suite here (written by
Bob Merrill and Julie Styne) is - while old-fashioned - most enjoyable. Her most famous song is probably "The Way
We Were", which even I admit it really quite brilliant; the symphonic arrangement of Marvin Hamlisch's classic
melody is really very impressive, and I challenge anyone not to start singing along to it. Following on from this is
a piece from the other end of the Hamlisch cabinet, the main title from The Mirror Has Two Faces.
Later highlights include the title song "Evergreen", written by Streisand and Paul Williams, in another top-notch
arrangement and James Newton Howard's theme from The Prince of Tides (though the performance is perhaps
not quite as emotional as the music would demand). But the real highlight of the disc, for me, is the superb suite
for harp and orchestra from Michel Legrand's score for Yentl. It's fourteen minutes long, every one of which is
This is an entertaining compilation, which will probably satisfy fans of Streisand and (using me as the litmus test)
non-fans as well. Performances, usually by the City of Prague Philharmonic conducted by either Nic Raine or
Stepan Konicek, are generally good, and much of the music is of a high standard.
Rating *** 1/2
James Southall from Movie Wave
Although I am not a fan of Barbra Streisand, both in terms of her songs and films (in fact, I don't think I have seen
any of her films), I am quite fond of the music from her films. I own the original soundtracks to "The Way We
Were," "The Mirror Has Two Faces," and "The Prince of Tides" and I like all of them. Despite the good music from
her films, I don't think that there has been a compliation album of music from her films before. This is probably
the first one.
This album contains both previously released reordings and new recordings, with the latter ones performed by The
City of Prague Orchestra. The first track from "Funny Girl" is the standard type of music that you will hear from a
musical. In other words, it is one of those tracks that you can hear from a album of instrumental broadway music.
The second track, "The Way We Were" is, of course, the orchestral version of Streisand's classic song - "The
Way We Were." The next track, Main Title from "The Mirror Has Two Faces" is my least favorite track of the
album. It's not because of the music itself but the poor performance of it. Luckily, this is the only poorly
performed track in the album. All of the other tracks are performed pretty well. The selection from Prisoner is a
favorite track of mine. It has a very moving saxophone melody playing over the huge orchestra throughout.
The selection from "A Star Is Born" is another classic. So I don't have to say anymore here. The theme from "The
Prince of Tides" has always been one of my favorite theme and The City of Prague Philharmonic gave an
excellent performance of it. The last track from "Yentl," which takes up a good portion of the album, is somewhat
different than the other tracks. The track is conducted by the comoposer Michel Legrand himself. It is a very
formal Harp concerto piece. So it does not go "straight to the point" like other tracks do. It builds up slowly and
the orchestra bloosoms in the middle and end point.
In general, this is a very good album if you like pop orchestra music. Every track is the core of each film score
and there is really no dull moments. But as a serious film music fan, you probably want to listen some of them as
a whole instead of just one track. Nonetheless, it is an enjoyable compilation would definitely not disappoint
those who like to the orchestral version of some of Streisand's songs. Rating: ***1/2.
Yu Lui from Film Score Magic
Finally, an album that should please both Streisand devotees and detractors! Why? Because while this CD
spotlights cues from nine of her most famous films, the saccharine singer doesn't actually appear anywhere on
the recording! In fact, there are no voices at all, since the entire collection is orchestral. Capably performed by a
few different ensembles, including the City of Prague Philharmonic, folks will readily recognize melodies from
such pictures as Funny Girl and A Star Is Born, though selections from more recent features like Nuts and The
Mirror Has Two Faces also remain enjoyable. It's a nice introduction to some fine movie music, all presented in
an inviting "You don't bring me vocals anymore" approach. Rating: 5/5.
Jeff Berkwits from The Illinois Entertainer
At first I thought . . . music from Barbra Streisand films? What the heck? And then I thought well she is one of
the great entertainers of all time. Charles Gerhardt put out albums for stars like Bette Davis and Humphrey
Bogart. Silva Screen has put out albums of music for the films of Harrison Ford and Sylvester Stallone amongst
others. So why not an album for Barbra Streisand. I guess it is because we know her as a singer before actress,
producer, director, etc.
Now first off there is no singing on this album. It is a instrumental tribute to her. I am not a great fan of her recent
films. Truthfully, I liked it when she did musicals of which Funny Girl and On A Clear Day You Can See Forever are
represented here. Unfortunately, Hello Dolly is not on the album, but other pieces made famous by Mrs. Brolin
are here. The City of Prague Orchestra under Nic Raine does a beautiful rendition of The Way We Were and
Evergreen from A Star is Born.
It is nice to hear these without the lyrics for a change and this orchestra keeps getting better all the time. There
is a beautiful 14 minute suite from Yentl. The song, Papa, Can You Hear Me? has certainly become a standard;
not only for Barbra Streisand but also for the Phantom himself, Michael Crawford. This piece was performed by le
Orchestre Symphonique, conducted by the composer, Michel Legrand. The end credits to Nuts, written by
Streisand, is performed by John Beal and the London Symphonic Assembly. Of course Marvin Hamlisch is
represented by The Way We Were and The Mirror Has Two Faces. He has been a major contributor to her films as
well as her concert gigs. Also James Newton Howard's lovely main title to The Prince of Tides is included in this
tribute. These composers have contributed much to the world of film music.
Their work for Barbra Striesand's pictures is certainly a major part of their output. They have evolved a musical
sound for Barbra Striesand that is stunning and sentimental; giving this album more of a cohesive sound than
just a disjointed compilation of tunes. I think that the producers have done a splendid job in that respect. The CD
has informative liner notes by Didier Deutsch and was produced by Ford A. Thaxton.
Marc Harwood from Cinema Concerto
Sonic Images has released a very nice collection entitled Evergreen - Music From The Films Of Barbra
Streisand. Totalling nearly 48 minutes, the disc consists of new recordings by the City of Prague Philharmonic
and older selections by various ensembles. Presented is a lively medley from Funny Girl, themes from The Way
We Were, The Mirror Has Two Faces, On A Clear Day You Can See Forever, The Prince Of Tides, Streisand's own
Nuts, and of course "Evergreen" from A Star Is Born. In addition there is an interesting "Suite For Harp And
Orchestra" from the excellent Yentl, conducted by Michel Legrand himself. But the surprise gem of the disc is
the splendid big city feel of "Prisoner" from The Eyes Of Laura Mars, with its bluesy sax. Presented in a nice
rose-adorned package, with booklet notes by Didier C. Deutsch, this is a very nice collection indeed.
Jeff Hall from Film Music Bulletin
Let me guess: You're reading this review because you're a fan of Barbra Streisand and you think she's just
fabulous. Well, let me point out that, as the album case declares in politely tiny print, "This recording
has not been authorized by Barbra Streisand and does not feature any of her vocal performances." So don't think
that Barbra's back with a smashing new album. However, fans should know that the collected orchestral group
known as Evergreen, in creating their tribute to the singer/actress, still delivers a pleasant slice of instrumental
mental massage. Entitled Music from the Films of Barbra Streisand (Sonic Images Records), Evergreen tackle the
themes from Barbra's most cherished films, including Funny Girl, A Star Is Born, The Prince of Tides and the work
that marked her directorial debut, Yentl. Note that the Academy Award-winning Streisand helped write many of the
scores to her films, making the release of this album a fitting choice.
As the liner notes by Didier C. Deutsch explain, Barbra Streisand is more than just a shooting star. After all, she
has 40 gold, 25 platinum and 13 multi-platinum albums in her name. So it makes sense that, in our day of
recyclable themes, someone would eventually want to pay tribute to her legacy. It just so happens that those
admirers are classical musicians, such as the City of Prague Philharmonic, the London Symphonic Assembly and
the Orchestra of the Americas. The music is gentle, playful and respectful, but its most endearing characteristic
is its cinematic quality, bringing to mind images such as Barbra brushing the hair from Robert Redford's forehead
in The Way We Were. "Beethoven's Fifth Symphony" this ain't, but classical lovers, as well as fans of the
cherished star, will easily gravitate towards these familiar melodies.
Andy Kaufmann from Music.com
The thirty-year career of Barbra Streisand hasm for the most part, been one of unstoppable ascendancy. From
her big screen debut HELLO DOLLY! in 1968, through star-making roles in FUNNY GIRL, THE WAY WE WERE and
A STAR IS BORN, to her directing debut YENTL in 1983 and her last outing to date, the romantic comedy THE
MIRROR HAS TWO FACES in 1996, she has become one of the most successful and influential femal vocalists in
"Evergreen" is a celebration of the music that accompanied nine of her greatest silver screen triumphs - although
collectors should be aware that all of the tracks are completely orchestral. None of them feature the vocal talents
of Ms. Streisand, but are instead performed by qualioty orchestras like The Orchestra of the Americas and The
City of Prague Philharmonic. The nine films represented - FUNNY GIRL, THE WAY WE WERE, THE MIRROR HAS
TWO FACES, ON A CLEAR DAY YOU CAN SEE FOREVER, THE EYES OF LAURA MARS, A STAR IS BORN, THE
PRINCE OF TIDES and YENTL - each feature the lush, syrupy, romantic melodies that one comes to associate
as being "The Streisand Sound," and although some may find them just a little too far on the saccharine side, they
are all undeniably lovely. Special mention should go to Lane and Lerner's music from ON A CLEAR DAY YOU CAN
SEE FOREVER, which combines modern-sounding motifs with some lively, vibrant Victoriana. Some slightly
moodier material is heard in the "Prisoner" cue from THE EYES OF LAURS MARS bu John Michael DeSautels and
Karen Susan Lawrence, whose tempestuous saxophone and string writing I am rather fond of. Streisand's own
music is represented by two tracks - the famous "Evergreen" from A STAR IS BORN, and the unusually restrained
and dramatic piano music from the 1987 film NUTS.
However, by far the best is the wonderful 14-minute "Suite for Harp and Orchestra" from Michel Legrand's YENTL.
More than any other piece I have heard, this suite illustrates why Michel Legrand was once such a popular
composer, why he received so many Oscar nominations, and why it is astounding that he gets so little work these
days. The YENTL suite plays like a serious classical composition, with beautifully structured string melodies, a
truly gorgeous flowing harp, a superb bolero beat and faint, almost subliminal accents which give the whole piece
a traditional Jewish inflection.
Jonathan Broxton from Soundtrack Magazine