Morgen from Four Songs, Op. 27/4 [composer's transcription in G] Cover Image

Morgen from Four Songs, Op. 27/4 [composer's transcription in G]: High Voice, Orchestra Accompaniment, Conductor Score & Parts

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Morgen from Four Songs, Op. 27/4 [composer's transcription in G] Cover Image
Morgen from Four Songs, Op. 27/4 [composer's transcription in G]: High Voice, Orchestra Accompaniment, Conductor Score & Parts

Morgen from Four Songs, Op. 27/4 [composer's transcription in G]: High Voice, Orchestra Accompaniment, Conductor Score & Parts

By Richard Strauss/ Text by John Henry Mackay

Item: 36-A310102
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Morgen from Four Songs, Op. 27/4 [composer's transcription in G]: High Voice, Orchestra Accompaniment, Conductor Score

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Description
Richard Strauss (1864-1949) wrote Four Lieder (Four Songs), Op. 27 for voice and piano originally in 1894, and they are among his greatest songs, when taken as a set. While the text came from a trio of radical political activists with whom he was friends, Strauss managed to consistently select their love poems over the more rabble-rousing text they might have preferred. The original four songs: 1. Ruhe, meine Seele! (Henckell), 2. Cäcilie (Hart), 3. Heimliche Aufforderung (Mackay), 4. Morgen! (Mackay). While the 1st, 2nd, and 4th were orchestrated at various times by the composer, the Heimliche Aufforderung was not. Morgen! (Morning!) is serenely rapturous and remains one of Strauss' best-known and widely recorded works, with Strauss' 1897 orchestration also remaining very popular over the years. Instrumentation: 0.0.0.0: 3.0.0.0: Hp: Str (9-8-7-6-5 in set): Solo Vn: Solo Voice. The original songs with piano accompaniment are available in Richard Strauss' Collected Songs, Volume 3 (M125591) from LudwigMasters.

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Additional Details
Series: Kalmus Vocal Library
Publisher: Keiser Productions, Inc.
UPC: 659359590979
SKU: 36-A310102
Instrumentation: 0.0.0.0: 3.0.0.0: Hp: Str (9-8-7-6-5 in set): Solo Vn: Solo Voice

More about this title

About the Composer: Richard Strauss

Richard Strauss (1864-1949) was a German composer and conductor whose symphonic poems and operas shaped late Romantic music. Beyond his large-scale orchestral works, he composed over 140 songs that demonstrate remarkable craft in text-setting and harmonic innovation. His Four Lieder, Op. 27 represent a pinnacle of German art song literature, and his 1897 orchestration of Morgen! shows his mastery of orchestral color and the discipline required to enhance rather than overshadow the singer's line.

Why we love this

This orchestration is a masterclass in restraint. Strauss knew when to let the voice breathe and when to wrap it in lush string writing, creating a work that sounds inevitable rather than fussy. For high voices, the tessitura sits comfortably while maintaining the song's inherent emotional depth, making it a viable alternative to the more frequently performed mezzo-soprano versions without compromising the composer's intent.

What to expect

Morgen! unfolds like a sunrise over still water. The opening radiates calm certainty, and as the voice enters singing of waking beside a beloved one, the music becomes intimately joyful without ever breaking its serene demeanor. The orchestration bathes the melody in warm harmonic color while maintaining the intimacy of the original lied.

Who it's for

High voice soloists performing in orchestral contexts will find this a natural fit for recital programs, concert series, or competitions where orchestra collaboration is expected. Conductors seeking a shorter, lyrical work to program alongside larger symphonic pieces will appreciate its economy of time and emotional impact.

How to get the most out of it

  • Shape the opening orchestral gesture with the harp to establish the peaceful landscape before the voice enters; the strings should support rather than push.
  • Encourage the soloist to sing from the beginning of each phrase rather than waiting for the accompaniment to arrive; Strauss' orchestration follows and frames the vocal line, never leads it.
  • Balance the solo violin countermelody against the voice so it functions as a gentle interlocutor, not a competing voice.
  • Secure clarity in the string divisi (the score calls for 9-8-7-6-5) so the harmonic progression remains transparent even in fuller passages.

How to use it

Slot this into a concert that pairs Strauss' larger orchestral works, or use it as a bridge between a heavier symphonic or operatic section and lighter programming. Its moderate length and emotional directness make it excellent for opening a second half or creating a moment of repose in a varied program.

Skills your students will build

  • Singing over a full orchestra while maintaining vocal line integrity
  • Interpreting Strauss' harmonic language and text-driven phrasing in German
  • Balancing intimacy with orchestral scale
  • Conducting or leading an orchestra with a soloist, managing tempo and ensemble coordination

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