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The scope of Bertelmann's approach to Conclave is constricted to create a feeling of tension, minimal and sparse until the closing credits. Only in a few scenes was a larger ensemble used, but not obviously so, and the end credits cue is the sole major performance for a normal orchestral presence. The small group otherwise emphasizes very low booming thuds and strikes from strings and percussion. A cello is the central core, applied typically but also like a percussion player. The strings were generally instructed to use a ricochet bowing technique to twist their pitch. Low piano meanderings capture slow frustration with the voting process. The most creative instrumental application comes as the composer replaces traditional religious tones with those of a Cristal Baschet, a French instrument using glass rods that sounds synthetic but is entirely organic in performance. Meant to be other-worldly, it's most similar to a glass harmonica but with more distorted resonances in its inflection. The structure of score is largely driven by arpeggios, rhythmic fragments that are prickly and uncomfortable. These formations were not meant to literally synchronize with the cuts in the film, and polyrhythms push incongruous figures against each other for conflict and intrigue. The stabbing effects of the strings that result from these techniques are highly distracting and obnoxious on screen, however, pushing their way to the forefront of the mix suddenly and sometimes without obvious purpose. On the upside, the score is initially quite loyal to its three themes, Bertelmann forcing them against each other quite effectively until curiously abandoning two of them partway through. These ideas represent situations rather than characters, which is a wise strategy in this convoluted tale. But narratively, the score offers little to the picture's movement towards a selection of a new pope. It emphasizes the feeling of being stuck in stasis until the final cue, a cheap, ineffective choice that offers no slow, boiling crescendo to that payoff. Long atmospheric cues like "You Should Be Careful" offer nothing substantive to the plot, and the same issue applies to "Explosion," which is useless noise that fails to stir convincing dread.

Almost the entire length of the score for Conclave strives to create discord without any of the grace of the concept, which also means that the comparative immensity of "Postlude of Conclave" is not truly earned. While much praise has been aimed at that final cue, it is too sudden and too bloated for the quietly contemplative and controversial scenes that precede it. That cue also does not summarize or provide closure to all three of the work's themes. The main one represents Vatican tradition and accompanies much of the praying in the film while also reflecting the main Ralph Fiennes character's doubts. Often conveyed by the Cristal Baschet but also by strings, this idea is a little more tonally accessible, but its progressions are not all that obvious, defined by a slightly yearning four-note phrase with two notes up and two down. The main theme is minimally evident early in "Overture of Conclave" but consolidates at 0:51 on violins, slight at 1:18 into "Tears" and barely surviving against the other two themes in "Arrival." It adopts a more dramatic, elongated variant for the Cristal Baschet the first time in the elusive "Prayer," and this longer line continues in "The Abyss Calls Out." The main four-note phrase disintegrates in "Walk of Doubt" before becoming ethereal in the first half of "First Election," in which it is subtly intertwined with the voting theme. With more appeal, the theme is vaguely pretty with the strings and Cristal Baschet in "Not What We Had Hoped," the longer version of the idea gaining some semblance of warmth. It opens "Evening Prayer" in contemplation, is truncated and twisted in the fear of "Still No Result," introduces the battle between the two other themes at 0:11 into "I Don't Want Your Vote,' and transitions to disillusionment early in "Discovery" against suspense slurs. The longer variant dominates several cues at this point, providing a glimmer of hope on the glassy tones in "I Would Choose John," continuing with darker shades in "Walk Through Rain," getting even more ominous in the outwardly oppressive and mean-spirited "Innocent," and shifting to contemplative piano against hazy strings in "What is Troubling You?" The idea has difficulty finding any peace or solace in its disturbed, glassy rendition of "It is Official" as the new pope is someone not expected.

The main theme of Conclave culminates as it joins with the voting theme to define "Postlude of Conclave," evocative on solo elements after about 90 seconds. As mentioned before, though, the positive expression of the fuller version of the theme to follow is too unlike the rest of the score. In support, the voting ritual theme is a staccato descent of ten notes that moves downward only four times. Really unpleasant in its demeanor and not really indicative of the importance of the event, this motif debuts intensely in the middle of "Seal the Room" against the harmonics of the main theme and persists at 0:31 into "Arrival" against clashing pieces of the score's thriller motif. It's struck with angry snare and strings together over bass piano pulses in "Soon Enough," becomes even more intrusive and hostile in the second half of "First Election," and reverts to just a single note of repetition in "Still No Result." After struggling against the thriller motif at 0:15 in "I Don't Want Your Vote," this theme disappears for no good reason from there, never experiencing a climax or release, though it is adapted in part for the underlying rhythmic movement of "Postlude of Conclave." The thriller motif uses skittish high string phrases or simple two-note string slurs as a stinger. You hear it ramble under the main theme in the second half of "Overture of Conclave," dance early in "Tears" unpleasantly, stew in "Rumours," and stab in "Seal the Room." It keenly strikes against both other themes in the middle of "Arrival," overtakes the voting ritual theme in "Soon Enough," and is almost demonic in "Walk of Doubt." Like the voting theme, this material simply diminishes to near nothing after, in this case, providing very harsh ambient droning rhythms in "Second Day." There is no reason for the two supporting themes to be abandoned when they are, and the narrative of the entire score dissolves in the final scenes of shock and discovery. Not only is the tone of the work really unappealing both in and out of context, but it's not particularly effective music in pushing the narrative forward with the music. Instead, the score is along for the ride, an artsy, intrusive accent that screams "listen to me!" without providing anything worthy to hear. The album experience will seem much longer than 44 minutes in length because of its insufferably painful personality, and nearly all listeners will be best served exploring only the incongruous, final cue.  **   @Amazon.com: CD or Download

Total Time: 43:54