As well as some variations heard early on (such as in ' The Bells of Notre Dame'), this motif 'informs much of the score that chronologically follows in the film.' Reviewer Christian Clemmensen of adds that 'both 'Paris Burning' and 'Sanctuary!' explicitly continue the instrumental backdrop and Latin chanting of 'Hellfire', a sound that becomes more general in 'And He Shall Smite the Wicked'.' Also, 'the opening fanfare is also reintroduced at the end of 'Heaven's Light', makes up the melody during the chorus of 'Hellfire', and plays in the instrumental 'Sanctuary!''įrollo's lustful vision of Esmeralda from his fireplace. The instrumental accompaniment to the song serves as a musical motif that alters in tone depending on the action. It also provides counterpoint material throughout the song, whose ending also contains the ' Kyrie Eleison'. This prayer begins directly after 'Heaven's Light' and serves as the introduction to 'Hellfire'. 'Hellfire' contains parts of the Confiteor, a Latin prayer of confession used by the Roman Catholic Church. It soon modulates briefly into C minor, then F major, has a spoken intersection where the bass lies on A, dominant of D minor, the key in which the song finally ends. It begins in B flat major, before turning to its relative minor G. Problems playing this file? See media help.

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The clip includes the final part of verse 1 and the beginning of chorus 1. This 29 second excerpt of 'Hellfire' illustrates Frollo's internal struggle.

To helfire and back