1- Herr Lenz Op. 37, no. 5......................................................13- Nichts Op. 10, no. 2
2- Meinem Kinde Op. 37, no. 3................................................14- Ständchen Op. 17
3- Für funfzehn Pfennige Op. 36, no. 2.....................................15- Traum durch die Dämmerung Op. 29, no. 1
4- Hat gesagt - bleibt's nicht dabei Op. 36, no. 3.......................16- Schlagende Herzen Op. 29, no. 2
5- Das Rosenband Op. 36, no. 1..............................................17- Nachtgang Op. 29, no. 3
6- Morgen Op. 27, no. 4.........................................................18- Schlechtes Wetter Op. 69, no. 5
7- Einerlei Op. 69, no. 3.........................................................19- Ich trage meine Minne Op. 32, no. 1
8- Allerseelen Op. 10, no. 8....................................................20- Wie erkenn ich mein Treulieb Op. 67, no. 1
9- Cäcilie Op. 27, no. 2..........................................................21- Guten Morgen, s'ist Valentinstag Op. 67, no. 2
10- Malven AV 304................................................................22- Sie trugen ihn auf der Bahre Op. 67, no. 3
11- Heimliche Aufforderung Op. 27, no. 3.................................23- Ruhe meine Seele Op. 27, no. 1
12- Die Nacht Op. 10, no. 3

What was Richard Strauss doing when he wasn't scaling the alps, conversing with the sun or jousting with windmills. Well, he was writing songs of course. Over 200 of them which span a creative period of 78 years. Unlike Mahler, whose lieder output consisted mostly of orchestral songs, Strauss focused his attention on the more intimate setting of voice and piano. But like Mahler, straddling two centuries, he embodies the fading spirit of the 19th century without noticeably venturing into that of the burgeoning 20th. His melodies are the result of highly rich and complex harmonic manipulations, with the song itself rising from the quasi-orchestral support from the piano. Nowhere is that more apparent than in Morgen where he delves deep into Mahler territory with the use of beautifully effective suspended harmonic resolutions, and in Malven, his very last song. And again in the deeply moving Ruhe meine Seele (rest, my soul) in which he contrasts a glowing vocal line against a dark and ponderous piano accompaniment. It's nice to have so many of his songs, spanning a lifetime, assembled on one disc.

Despite her own hectic schedule as a solo performing artist and professor, according to the booklet notes one of pianist Sarah Tysman's key areas of activity is accompanying singers. And I can see why. She certainly knows well how to balance her roles. When to be the main protagonist, and when to play the supporting role, as the music dictates, and how to set the tone of a piece right from the first note. For example, the way she suspends motion at the end of Morgen is captivating.

Swedish soprano Maria Bengtsson's voice, with its unostentatious power and range, from throaty lows to effortlessly glowing highs, breathes life into every note she sings. Her recent stage roles in various Strauss operas have obviously impressed upon her the emotively charged character of Richard Strauss' music, as she easily brings out the stirring and passionate essence and impetus behind each and every one of these songs. If you can't feel the pain and sorrow in her voice as she sings Ruhe meine Seele, you'd best check your heart.