[4] Using selections from the medieval texts Codex Calixtinus and Miragres de Santiago and from Roman Catholic liturgy, Path of Miracles incorporates musical styles from the Taiwanese Bunun people to the pilgrims' hymn Dum Pater Familias, and is sung in Greek, Latin, Spanish, Basque, French, English and German.

While the basses drone pedal tones, a slow rhythmic transformation develops into a driving engine that, with gradually shorter and more syncopated rhythms, propels the music forward.

Burgos is epitomized with the final lines: Ora pro nobis, Jacobe/A finibus terrae ad te clamavi (Pray for us, O Jacob/From the end of the earth I cry to you).

[9] Beginning in a homophonic choral setting, as the movement progresses the voices gain independence, become polyphonic, and encapsulate the impressive church and bells at Burgos.

[9] The harmonies are more consonant, and even the texts reflect a hopeful and aspiring love: Beate, qui habitant in domo tua, Domine; In saecula saeculorum laudabant te (Blessed are they that dwell in thy house: they will be still praising thee [Psalm 84:4]).

[9] The spirit and joy of the end to the physically and spiritually tumultuous journey, Dickinson uses the liturgical language of Latin to phrase his comments on the saint's life, the choir singing a prayer to St. James: O beate Jacobe Virtus nostra vere Nobis hostes remove Tuos ac tuere Ac devotos adibe Nos tibi placere.

Jacobo propicio Veniam speramus et quas ex obsequio Merito debemus Patri tam eximio Dignes laudes demus.