[1] He wrote music in regular royal style with kettle drums, trumpets, harpsichords and pipe organs, and while playing, he substituted the baroque orchestra with free jazz players.

"[5] Brian Kiwanuka of Post Genre magazine wrote "The bar was set extremely high after the remarkable Phantom Thread, but the excellence of Spencer shows that Greenwood was more than up to the task.

"[6] Music critic Jonathan Broxton wrote "In the end, as is the case with most Greenwood scores, your tolerance for extended periods of dissonance, weirdness, and surprising unconventionality will determine whether or not you can settle in for the long haul and listen.

[9] Vanessa Ague of The Road to Sound wrote "Spencer’s soundtrack ultimately finds its footing in subtlety, in the moments where a tiny shift in rhythm, or bow stroke, or dynamic that signifies the rot inside of all the beauty.

"[12] Justin Chang of Los Angeles Times wrote "The music shudders with all the raw-nerves lyricism you’d expect from Jonny Greenwood (adding another remarkable score to an oeuvre that includes There Will Be Blood and You Were Never Really Here).