The opera of "Preciosa," also a masterpiece, was given shortly after with great _éclat_, though it failed to inspire the deep enthusiasm which greeted "Der Freischütz." In 1823, "Euryanthe" was produced in Berlin--a work on which Weber exhausted all the treasures of his musical genius. Without the elements of popular success which made his first great opera such an immediate favourite, it shows the most finished and scholarly work which Weber ever attained. Its symmetry and completeness, the elaboration of all the forms, the richness and variety of the orchestration, bear witness to the long and thoughtful labour expended on it. It gradually won its way to popular recognition, and has always remained one of the favourite works of the German stage. The opera of "Oberon" was Weber's last great production. The celebrated poet Wieland composed the poem underlying the libretto, from the mediæval romance of Huon of Bordeaux. The scenes are laid in fairy-land, and it may be almost called a German "Midsummer-Night's Dream," though the story differs widely from the charming phantasy of our own Shakespeare. The opera of "Oberon" was written for Kemble, of the Covent Garden theatre, in London, and was produced by Weber under circumstances of failing health and great mental depression. The composer pressed every energy to the utmost to meet his engagement, and it was feared by his friends that he would not live to see it put on the stage. It did, indeed, prove the song of the dying swan, for he only lived four months after reaching London. "Oberon" was performed with immense success under the direction of Sir George Smart, and the fading days of the author were cheered by the acclamations of the English public; but the work cost him his life. He died in London, June 5, 1826. His last words were--"God reward you for all your kindness to me.--Now let me sleep." Apart from his dramatic compositions, Weber is known for his many beautiful overtures and symphonies for the orchestra, and his various works for the piano, from sonatas to waltzes and minuets. Among his most pleasing piano-works are the "Invitation to the Waltz," the "Perpetual Rondo," and the "Polonaise in E major." Many of his songs rank among the finest German lyrics. He would have been recognised as an able composer had he not produced great operas; but the superior excellence of these cast all his other compositions in the shade.