For purely Western ears, Dun's music will present a challenge. Because of the inherent subtlety of Eastern music of the period, there are no sweeping themes for characters or grand rhythms for fight scenes. There is a set of motifs utilized throughout the score, as well as a pair of memorable themes that Dun refers to frequently, but not obviously. Instead, Dun correctly tackles the project with an underscore that strikes a balance between minimalistic care and muted ethnic romance. While not establishing itself early as the primary theme of the film, the longing romantic tone of the string idea in "The Eternal Vow" becomes the score's overarching identity, eventually translating into the obligatory song performance. This theme's beauty is often betrayed, though, by the strained tone of its performances, especially on Ma's part. The score is taut with tension throughout, its melodies brooding in sparse strings while percussive elements set the basic tone and style of the music's sense of movement. There is nothing flashy about Crouching Tiger, Hidden Dragon; even with its fantasy elements, Dun's lyrical impressions are repetitious and rely on the elevated diversity of its own instrumentation to succeed. The cello solos by Ma are very good, as to be expected, but the melodies he performs offer only hint of convincing depth; the extreme upper ranges of the instrument aren't particularly attractive. The rest of the score is dominated by inconsistent string motifs, occasional blasts of brass in unison, and the stunning array of specialty instrumentation. The two-stringed erhu is perhaps the most recognizable aspect of traditional Chinese music, and its use is almost constant. Dun adds the bawu, dizi, rawap, and lesser-known waterphone for an almost mystical effect in a handful of sequences. The drum performances of "Night Fight" offer one of the only extended, intrusive moments of stylistic distance in the score. The equally shallow "To the South" merges percussion with solo woodwind in an equally plain soundscape. Together, these elements all create a dissonance in the style of classical composer Toru Takemitsu, requiring a careful appreciation of subtle tension in the music for it to blossom.

For any typical collector of Western movie music, the score for Crouching Tiger, Hidden Dragon on album could prove even more problematic. The composer doesn't hit distinct synchronization points, thus allowing the recording to take on the structure of a series of suites. As such, Dun's composition can very well be treated as a concert piece in its construct, relying heavily on its intense solo performances and intimate treatment of traditional Eastern music. While underlying Western romanticism is easily evident, the unsettling repetition of motifs using the Eastern instrumentation causes the score to remain just out of reach. The repetition itself becomes a detriment at times as well, with several passages being largely redundant. The effectiveness of the music in the film is not really to be questioned, but had the movie been scored by Zhao Jiping, whose career emphasis rests on Chinese film music rather than concert works, then the translation of that material to album may have proven to be more accessible. While the music never becomes intolerably burdened by its own repetitions and defeated attitude, the album is awkwardly disturbing, if not depressing. Regardless of that emotional tone, the score is a piece that should be well received in concert even if it fails to ultimately gain the admiration of many Americans. The song performed in English and Mandarin by CoCo Lee at the end of the album uses the melody of the theme in "The Eternal Vow," though it goes against the fundamental sound of Dun's score, inserting an easily marketable pop song interpretation to boost unit sales. Ironically, because the song boasts a translation of that Eastern romanticism into a Western rock band ensemble, it might be better received by more listeners. Lee's voice is certainly appealing, even if the now-dated synthetic accompaniment is disappointing. Also of note about the album is the seemingly long pause inserted between each track, causing an occasional break of mood. Overall, Crouching Tiger, Hidden Dragon is the type of score that wins Western awards because of the critical success of its film, and even though it proved to be too strong a contender for its Oscar competition, it remains a significantly overrated work that, regardless of cultural style, isn't the crossover powerhouse that many claim it to be.  ***   @Amazon.com: CD or Download