After _Faust_ and _Romeo_, comes the _Requiem_,—another triumph; a romantic composition of the first class, written with feverish enthusiasm by a master who rather sought to paint a striking picture to each line of the _Requiem_ than to probe to the literal sense of the Latin text. The _Kyrie_ is the least eccentric and the most expressive number. The _Tuba Mirum_, in particular, produces a tremendous effect with its four orchestras of brass; an idea that Félicien David and Verdi borrowed from this. Berlioz has given to the _Lacrymosa_ a searching pathos. Perhaps the finest movement in the work to which Schumann rendered such ample justice, is the _Offertorium_. The requiem ends with a _Sanctus_ for tenor solo, seraphic in sentiment, followed by a beautiful _Agnus_ and a lovely, unfugued _Amen_. It is fitting to bring together, for comparison, this composition and the _Te Deum_ written about 1850, of which the finest page is the hymn of the seraphim, _Tibi omnes angeli_, that rises to a magnificent crescendo and dies away at the close on a long and distant chord of the organ. The prayer for tenor solo, _Te ergo quæsumus_ is equally perfect, and the final chorus is a majestic number to which Berlioz has attached a brilliant and thrilling triumphal march for the “presentation of flags.” It recalls by the vastness of its proportions and its orchestral massiveness, his _Symphonie funèbre et triumphale_, so much admired by Richard Wagner, and of which the peroration, entitled _Apothéose_, forced a flattering exclamation of praise from even the savage Habeneck.