]
[Footnote 96: Letter to Morel, 1855. Berlioz thus describes the
_Tibiomnes_ and the _Judex_ of his _Te Deum_. Compare Heine's judgment:
"Berlioz's music makes me think of gigantic kinds of extinct animals, of
fabulous empires.... Babylon, the hanging gardens of Semiramis, the
wonders of Nineveh, the daring buildings of Mizraim."]
[Footnote 97: _Memoires_, I, 17.]
[Footnote 98: Letter to an unknown person, written probably about 1855,
in the collection of Siegfried Ochs, and published in the _Geschichte
der franzoesischen Musik_ of Alfred Bruneau, 1904. That letter contains a
rather curious analytical catalogue of Berlioz's works, drawn up by
himself. He notes there his predilection for compositions of a "colossal
nature," such as the _Requiem_, the _Symphonie funebre et triomphale_,
and the _Te Deum_, or those of "an immense style," such as the
_Imperiale_.]
It was the _Symphonie funebre et triomphale_ for two orchestras and a
choir, and the _Te Deum_ for orchestra, organ, and three choirs, which
Berlioz loved (whose finale _Judex crederis_ seemed to him the most
effective thing he had ever written[99]), as well as the _Imperiale_,
for two orchestras and two choirs, and the famous _Requiem_, with its
"four orchestras of brass instruments, placed round the main orchestra
and the mass of voices, but separated and answering one another at a
distance.
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