The album opens with the piano solo from Titanic, an overrated piece that was in enormous demand between the release of the first album for the film and the second one (which provided the original solo performance heard in the film). Its performance here is adequate, but the cue is among the weaker concepts in the score when compared to majestic touch with which Horner approached the rest of his score. While that cue from Titanic was original to this album at the time, the selections from The Rocketeer and Legends of the Fall were licensed from the source for Bill Broughton's conducting of the Orchestra of the Americas. These performances can be heard on the various Intersound compilations of the mid-1990's, and they are typically of high quality. The recording of The Rocketeer is nothing less than spectacular, putting The City of Prague Philharmonic's poorly paced and error-prone performance of the same piece to absolute shame. The synthetic tingling effect over grand piano in the opening moments is brilliantly accomplished. Rarely does a re-recording eclipse the quality of the original in the authentic enthusiasm of a film theme, but aside from some slight microphone artifacts at about 1:50 and a horn flub in the love theme interlude, this is a outstandingly vibrant presentation. The same ensemble's take on Legends of the Fall is strong as well, though the cue performed is nowhere near being representative of the score as a whole, leaving the casual listener with no idea of the score's heavier, later tones.

The Cincinnati Pops produced some very entertaining renditions of film music in the 1990's, and a few of their more accomplished performances of Horner's works were licensed for inclusion here. One of their best entries represents the splashdown sequence from Apollo 13. Kunzel's arrangement does great justice to the original, and his cost-saving synthesized choir is an effective substitute. They performed Braveheart's closing titles cue at about the same time, and with its pipes and synthetic choir, is average. More stirring are their performances of Cocoon and Star Trek II: The Wrath of Khan, among their older works. Once again, the performance of Cocoon is superior to that of The City of Prague Philharmonic; the flute performances here are far more accurate. The compilation intersperses performances by trailer music master John Beal on the synthesizer in between the symphonic tracks. His interpretation skills have been praised widely, and while every synth programmer has his hits and misses, Beal's work here is more intriguingly faithful to the original recordings than Mark Ayres' similar attempts for the Silva Screen Horner compilations. Beal's performances of Commando and Vibes are strikingly similar to Horner's own recordings, with the best, exotic cue from Vibes arguably serving as a highlight of this entire compilation. His arrangement of Name of the Rose is adequate, but suffers from the same largely non-descript nature as the rest of that score (especially since it doesn't accentuate the theme as well). This is a case when Silva's commissioning of a different arrangement from the same score wins the prize.

The Field of Dreams arrangement comes off of another Silva album and retains the country charm of the original. The City of Prague Philharmonic makes its only appearance on this album with Wolfen, a subtle score with many similar elements to Star Trek III: The Search for Spock, and this performance comes from the ensemble's more suspect, early days of recording film music. It's difficult to see why Wolfen was included here, and the same applies to Where the River Runs Black. Thaxton managed to license Horner's original recording from MGM for this score, but its title theme is so weak that it again slows the momentum of the album. Where the River Runs Black's main title, as heard here, offers a very subdued preview of the folksy rhythms and instrumentation of the closing song-like cue from Willow, and it won't send anybody in a frantic search for the out-of-print Varèse Sarabande release. Overall, this CD's symphonic performances all appear elsewhere, though the product adeptly collects some of the stronger tracks from those albums for inclusion here. This is especially the case with the Intersound releases of Broughton's conducting of the Orchestra of the Americas. The Kunzel and Cincinnatti Pops performances likely merit a search for their original compilations (which are not only strong, but also include quite a decent performance of Willow that would have been a welcomed addition here). Beal's synth performances are enjoyably accurate. Because this compilation is so heavy on the early Horner works, it's a good product with which to become familiar with those hard-to-find collectible scores before you blindly buy them.  ****   @Amazon.com: CD or Download