[2] He gave it to Nic Raine, who orchestrated it and conducted the result, with violinists Vanessa-Mae and Dominique Lemonnier, harpist Maria Bîldea, the Epris Polyphonic Ensemble, tenor Konstantinos Paliatsaras, singer Irina Valentinovna Karpouchina, with around 200 players in the orchestra.

The "Eternal Alexander" and "Tender Memories" are more reflective tracks with an exotic oriental flavour, beginning with a folk tune, and feature a chorus, symphony orchestra and guitar.

James Christopher Monger of Allmusic observed that "what begins as a Blade Runner-esque wash of atmospheric, keyboard-driven subtlety quickly deteriorates into a thick wall of stock heroic motifs, swelling brass, and thunderous percussion", and gave the soundtrack two-and-half stars out of five.

[11] Christian Clemmensen of Filmtracks.com praised the soundtrack for "a continuation of Vangelis' trend towards seeking the perfect harmony between synthetic and orchestral elements", "can be divided into two sections: that in which Vangelis unleashes the ensembles and his electronics in a massive bombardment of rhythm and theme, and those in which he attempts to provide realistic source-like underscore for the erotic and/or Eastern sequences", concluding "on its attempts to insert a synthetic element into music for this general historical period, Alexander succeeds better than Zimmer's Gladiator ever did", scoring it five stars out of five.

[14] Peter Simons of Movie Music UK concluded that "a few good tracks save the album from being a complete waste, but they hardly outweigh the simplicity of the composition and the annoyance of the endlessly repeated percussion", and scored it 2/5.

[16] Adrian Edwards of Gramophone noted that "Eternal Alexander" and "Tender Memories" could become the "most frequently aired themes", concluding that "a number of tracks segue from one to another, carrying the mood through and avoiding the fragmentary nature of soundtrack listening.