Berlioz didn’t bother with chamber music or small-scale, intimate compositions. What he composed, in particular his choral works, may deservedly be called monumental. His scoring for his Requiem, the “Grande messe des morts”, not only included 8 bassoons, 12 horns and 16 timpani but also no fewer than four, offstage brass ensembles. By no means scored on a smaller scale, the “Te Deum” with its already huge orchestral forces as it was, also had twelve (!) harps lending their tonal colours. Deep down it was that he delved into his inexhaustible cornucopia of programmatic coloration in two other works as well: the dramatic legend “La damnation de Faust” (The Damnation of Faust) and the cantata trilogy “L’Enfance du Christ” (The Childhood of Christ).