Lieder mit Klavierbegleitung op. 46 bis op. 56

Around the turn of the century, Richard Strauss found himself in a particularly intense phase of song composition. In the chronological Strauss catalog raisonné by Franz Trenner, for example, there is a further compression compared to previous years: from the Five Songs, Op. 41 from 1899 to the opera Feuersnot, Op , song orchestrations and genuine orchestral songs) only interrupted by the ballet draft Kythere, which remained in the sketch stage, and then immediately continued with the eight songs op. 49. From November 1899 to September 1901 alone, 23 piano songs were written: the songs op. 46, 47, 48 and 49. Together with the songs op. 56 (1903–1906) and the two versions of the individual composition Der Graf von Rom (1906) the stock of works of the present edition volume.

As explained in the volumes of songs RSW II/2 and II/3, Richard Strauss often accompanied his wife himself on the piano (or conducted song orchestrations and orchestral singing) during his songs. These interpretations are reflected in numerous entries in Pauline Strauss’ copies of the songs. They include annotations to help with the singing (e.g. breath marks), but also modifications of the musical text: shifted dynamic indications, added performance markings, occasional error corrections and, in special cases, even changed vocal lines (see facsimiles). Since these entries often come from the composer himself or at least were made by him as a piano accompanist, they are precisely documented in the critical edition - although as a rule they are not interpreted as if there were any interventions in the valid form of the work. Of course, numerous notes are specially tailored to Pauline Strauss and her voice. But precisely because Strauss often described the way the voice was performed in less detail than the piano part in his songs, some of these entries can also serve as inspiration for today's performers. In significant cases, they are therefore included in the new musical text in angle brackets.