Richard Strauss (1864–1949), the composer of large-scale operas and tone poems, also wrote lieder throughout his life. His entire oeuvre stretching over a period of 78 years is framed by lied compositions: the Weihnachtslied dating from December 1870 (the second entry in the chronological catalogue of Strauss’s works) and the lied Malven written in November 1948 (Strauss’s last completed composition). His lied compositions include lieder with piano accompaniment, genuine orchestral lieder and subsequent orchestrations of original lieder with piano. Strauss frequently conducted his own operas and orchestral works and also gave public performances of his lieder both as pianist and conductor. As was customary in the concert practice of the time, he combined lieder with larger-scale works: it was not uncommon for tone poems and lieder to appear on the same programme. Music publishing houses were active in the dissemination of Strauss lieder across the world: in the first prints, the early lieder were published in their original register, mostly only with the original German texts, but subsequent editions were issued for other vocal registers or with additional texts in English, as well as with French, Italian and Russian translations. The broad spectrum was rounded off by arrangements of lieder (such as purely instrumental piano arrangements by Max Reger and Walter Gieseking), arrangements and orchestrations by other composers and lieder albums containing collections of Strauss lieder not ordered chronologically according to their opus numbers. The fact that Strauss is to this day one of the most frequently performed composers is not only due to his operas and tone poems, but also his lieder, particularly the most treasured favourites. A number of these pieces are contained in this volume: Zueignung Op. 10 No. 1, Nichts Op. 10 No. 2, Die Nacht Op. 10 No. 3, Allerseelen Op. 10 No. 8, Ständchen Op. 17 No. 2, Ruhe, meine Seele! Op. 27 No. 1, Cäcilie Op. 27 No. 2, Heimliche Aufforderung Op. 27 No. 3, Morgen! Op. 27 No. 4, and Traum durch die Dämmerung Op. 29 No. 1.

Vorwort - Einleitung - Faksimiles - Acht Gedichte aus letzte Blätter, op. 10 (H. Gilm): Zueignung - Nichts - Die Nacht - Die Georgine - Geduld - Die Verschwiegenen - Die Zeitlose - Allerseelen - Wer hat's gethan (H. Glim) - Fünf Lieder, op. 15: Madrigal (M. Buonarroti) - Winternacht (A.F. Schack) - Lob des Leidens (A.F. Schack) - Aus den Liedern der Trauer (A.F. Schack) - Heimkehr (A.F. Schack) - Sechs Lieder, op. 17 (A.F. Schack): Seitdem dein Aug' in meines schaute - Ständchen - Das Geheimniss - Aus den Liedern der Trauer - Nur Muth - Barcarole - Sechs Lieder aus Lotosblätter, op. 19 (A.F. Schack): Wozu noch, Mädchen, soll es frommen - Breit über mein Haupt dein schwarzes Haar - Schön sind, doch kalt die Himmelssterne - Wie sollten wir geheim sie halten - Hoffen und wieder verzagen - Mein Herz ist stumm, mein Herz ist kalt - Breit über mein Haupt, op. 19 Nr. 2 (A.F. Schack) - Schlichte Weisen, op. 21 (F. Dahn): All' mein Gedanken, mein Herz und mein Sinn - Du meines Herzens Krönelein - Ach Lieb, ich muss nun scheiden - Ach weh mir unglückhaftem Mann - Die Frauen sind oft fromm und still - Mädchenblumen, op. 22 (F. Dahn): Kornblumen - Mohnblumen - Epheu - Wasserrose - Mädchenblumen, op. 22 (F. Dahn)Fassung nach Manuskript : Kornblumen - Mohnblumen - Epheu - Wasserrose - Zwei Lieder, op. 26 (N. Lenau): Frühlingsgedränge - O wärst du mein - Vier Lieder, op. 27: Ruhe, meine Seele (K. Henckell) - Cäcilie (H. Hart) - Heimliche Aufforderung (J.H. Mackay) - Morgen (J.H. Mackay) - Drei Lieder, op. 29 (O.J. Bierbaum): Traum durch die Dämmerung - Schlagende Herzen - Nachtgang - Kritischer Bericht - Abkürzungen und Siglen