"_Lohengrin_." When it was produced in Berlin in 1825, the enthusiasm was yet greater and more remarkable than in Vienna. In 1825 he composed "_Oberon_," the first of the operas in which the fairy principle has prominent exemplification. This was produced in London early in 1826. But by this time Weber's health had become completely broken, and he died there of overwork and fatigue. He was laid to his rest, to the music of Mozart's Requiem, in the chapel at Moorsfields in London. Weber was the first of the romantic composers--the first, at least, to gain the ear of the public. These operas, with their beautifully descriptive music, in which voices and orchestra co-operate with the action and scene as one, were composed at the same time that the young Franz Schubert was improvising his beautiful songs in Vienna. From one end of Germany to the other, and in all Europe, these operas made their way. "_Der Freischuetz_" has lasted fifty years, and is still presented with success. More than that, as already noticed, Weber furnished the model, or point of departure, for a multitude of smaller composers, who developed the opera in various side directions; and last, but not least, for Richard Wagner himself. Moreover, in the department of piano playing Weber was no less epoch-marking than in that of opera. In 1812 his sonata in C, Opus 24, was produced, a work which is distinctly in advance of those of Clementi or any other writer before that time. The finale of this work is the well known rondo "Perpetual Motion," which, indeed, contains no new principle of piano playing, but is an elegant example of melodiousness and real musicianly qualities displayed at the highest possible speed. His next sonata, Opus 39, in A flat (1816), is still more remarkable. The piano playing here is of an extremely brilliant and picturesque description. Here also, in the _Andante_ we have the tricks which he afterward made so effective in the _Concertstueck_, of the legato melody accompanied by chords _pizzicati_. Equally significant in this way is the sonata in D minor, Opus 49, published in the same year as the preceding. Here we have very strong contrast and an enormous fire and vigor. The romantic impulse, however, had been displayed yet earlier in his "_Momento Capriccioso_," Opus 12, in B flat (1808). This extremely rapid piece of changing chords _pianissimo_ is like a reminiscence from fairy land, and the second subject contrasts with it to a degree which would have satisfied Schumann. It is a choral-like movement with intervening interludes in the bass, upon which Rubinstein must have modeled his "_Kamennoi Ostrow_," No. 22. But the most decided token of the romantic movement is seen in the "Invitation to the Dance," and the "_Polacca Brilliant_," both of which were published in 1819. Two years later came the concert piece, which for seventy years has remained a standard selection for brilliant pianists, and for fifteen years was Liszt's great concert solo.