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Collected Songs, Vol. 10: Vocal Score

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Collected Songs, Vol. 10 Cover Image
Collected Songs, Vol. 10: Vocal Score

Collected Songs, Vol. 10: Vocal Score

By Richard Strauss/ Op. 51 texts by Ludwig Uhland and Heinrich Heine; Op. 56 texts by Johann Wolfgang von Goethe, Karl Henckell, Conrad Ferdinand Meyer, and Heinrich Heine

Item: 36-M149091
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Description
The Collected Songs by Richard Strauss are offered in 12 volumes. Volume X includes the following in the original keys for Low and High Voices: 1. Two Songs, Op. 51/TrV 206 (1. Das Tal; 2. Der Einsame) [1901, Low Voice]; 2. Six Songs, Op. 56/TrV 220 (1. Gefunden; 2. Blindenklage; 3. Im Spätboot; 4. Mit deinen blauen Augen; 5. Frühlingsfeier; 6. Die heiligen drei Könige aus Morgenland) [1906, High Voice]. Reprint edition.

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Additional Details
Series: Master Vocal Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN13: 979-8-898106-93-5
UPC: 605258948434
SKU: 36-M149091
Instrumentation: High/Low Voice and Piano

More about this title

About the Composer: Richard Strauss

Richard Strauss (1864-1949) stands as one of the last great Romantic composers, bridging the 19th and 20th centuries with a gift for lush orchestration and vocal writing that remains unmatched. His nearly 150 songs for voice and piano form a cornerstone of the German Lied tradition, showcasing his ability to set poetry with both psychological depth and stunning musical invention.

Strauss composed songs throughout his career, from his early twenties into old age, creating works that range from intimate character pieces to dramatic monologues. His song output demonstrates why singers of all levels treasure his music: he understood the voice completely, writing with generosity for both high and low voices while crafting piano parts that elevate rather than merely accompany.

Why we love this

Strauss's mature songs from this period showcase a composer at the height of his craft, unafraid to let the piano speak with orchestral richness while leaving the voice room to soar. These eight selections span a wide emotional landscape, from intimate, delicate settings to grand, almost symphonic utterances, giving serious singers material that rewards deep interpretive work across a single recital program.

What to expect

These songs evoke the golden age of Austro-German Romanticism, where beauty and melancholy coexist without apology. Whether you're navigating the quiet desolation of Der Einsame or the shimmering richness of Mit deinen blauen Augen, Strauss's harmonic language feels simultaneously familiar and subtly strange, drawing listeners into intimate emotional territory.

Who it's for

Serious art song singers and advanced undergraduates preparing for college auditions or recitals will find these eight songs essential repertoire. Voice teachers looking to develop phrasing, text interpretation, and control in their students will appreciate Strauss's sophisticated but grateful vocal writing.

How to get the most out of it

  • Allow the piano part to breathe independently, especially in the larger-scale songs like Die heiligen drei Könige aus Morgenland. Strauss wrote intricate accompaniment figures that deserve attention, not mere support.
  • Approach the earlier songs (Op. 51) with restraint; their power lies in understatement and text clarity rather than vocal display.
  • Use the high and low voice editions strategically. Choose the key that sits in the singer's most resonant range to unlock the emotional warmth Strauss intended.
  • Pay close attention to Strauss's dynamic markings and phrase-shaping indications. His romantic sensibilities require nuanced control over rubato and line rather than literal tempo.

How to use it

Program this volume as the centerpiece of a recital exploring German Lied, or select individual songs to pair with works by Schubert, Schumann, or Brahms. The Op. 51 songs work particularly well as opening material that establishes lyrical focus before moving into more dramatic repertoire.

Skills your students will build

  • Legit operatic breath management in lyrical, sustained lines
  • Musical storytelling through text-painting and dynamic control
  • Chamber music collaboration between voice and piano
  • German language diction specific to Strauss's harmonic vocabulary
  • Interpretive choices within a highly composed score (tempo flexibility, phrasing nuance)

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