The "Title Music" is a mixture of pageantry and lyricism and has some of the same stirring qualities as Howard Shore's Lord of the Rings music.

Gustafson then establishes a three-note motif for "The Journey of the Inquisitors", surrounding it with strings and horns and a part for lower-pitched instruments that gives it an inexorable momentum.

The feel gets more urgent in "The Birth of Carlos", with both speed and intensity increased, until a segue into a more romantic and relaxed mood for the end of the cue.

The familiar motif opens "The Monks Escape" with staccato horn bursts and propulsive orchestral parts that end up giving way to smoother, longer tones.At times it's similar to Ernest Gold's Exodus score.

Ominous playing from the cellos and other lower-pitched instruments establish an appropriately gloomy atmosphere for "The Dungeon", which is followed by a mixture of suspense, adventure and romance in "The Capture of Carlos".

The image on the album cover shows someone being burned at the stake and "Processional for the Auto-Da-Fe" has a steady drum beat and horn fanfares as someone marches to their frightening fiery fate.

"The Tribunal Hall" has some Herrmannesque ostinati and effectively conveys tension and dread, with the ostinati bleeding into the next cue, "The Torture", with more Herrmannesque swells and repeated figures.

Strings present a reflective and sombre mood for "The Penitent Returns to Christ", with some satisfying harmonies and effective contrast with the wind instruments when they come in.

Finally there's "The Burning of the Martyrs", straightforward underscore with short, sharp notes played by the horns while the strings keep everything on edge and moving forward.