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Track Listings
| 1. Opening Title |
| 2. Beauty Song (Jia Ren Qu) |
| 3. Echo Game |
| 4. Peonyhouse |
| 5. Battle in the Forest |
| 6. Taking Her Hand |
| 7. Leo's Eyes |
| 8. Lovers (Flower Garden) |
| 9. No Way Out |
| 10. Lovers |
| 11. Farewell No. 1 - Kathleen Battle |
| 12. Bamboo Forest |
| 13. Ambush in Ten Directions (Shi Mian Mai Fu) |
| 14. Leo's Theme |
| 15. Mei and Leo |
| 16. House of Flying Daggers |
| 17. Lovers (Mei and Jin) |
| 18. Farewell No. 2 |
| 19. Until the End |
| 20. Lovers (Title Song) |
Product Description
Amazon.co.uk Review
The films of director Zhang Yimou have a panoramic sweep to them that deftly creates a fantastical vision of ancient Chinese culture for the screen. Yimou's eye for colour and sense of drama demands a score that conveys the emotion, tradition and action of his movies. Here, Shigeru Umebayashi tells each part of the story with a mix of traditional flute, drums, string instruments and, to a lesser degree, orchestra and moody-sounding synthesizers. The lilting melody of "Lovers" is particularly effective, simmering with a passion that leaves no doubt about the tone of the scene; it comes back to dramatic effect at other times in the film as well--the soundtrack closes with a soaring version of it by soprano Kathleen Battle. Similar to but not as heavy as Tan Dun's occasionally overbearing work on Yimou’s film Hero, Umebayashi leans toward the subtle for this love story, and the film is better for it. --Tad Hendrickson
The films of director Zhang Yimou have a panoramic sweep to them that deftly creates a fantastical vision of ancient Chinese culture for the screen. Yimou's eye for colour and sense of drama demands a score that conveys the emotion, tradition and action of his movies. Here, Shigeru Umebayashi tells each part of the story with a mix of traditional flute, drums, string instruments and, to a lesser degree, orchestra and moody-sounding synthesizers. The lilting melody of "Lovers" is particularly effective, simmering with a passion that leaves no doubt about the tone of the scene; it comes back to dramatic effect at other times in the film as well--the soundtrack closes with a soaring version of it by soprano Kathleen Battle. Similar to but not as heavy as Tan Dun's occasionally overbearing work on Yimou’s film Hero, Umebayashi leans toward the subtle for this love story, and the film is better for it. --Tad Hendrickson
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