Strauss’s first tone poem distinguishes itself from all other subsequent orchestral compositions in its existence in three different versions. Even among the operas and other compositions in his hand there is no other work with a comparable history of origin and publication. What is more, the final version of Macbeth is the only valid form of the work and the only variant with further sources (cf. Critical Report) in addition to the autograph score. In contrast, the second version has only been preserved in an autograph score and autograph piano reduction (the orchestral parts which must have existed have obviously not survived). This was never printed and was replaced by the published third version. The two surviving versions should therefore not be considered to be of equal status. Unlike the case of Ariadne auf Naxos in which the earlier version was for a time the sole valid alternative and was yet never completely displaced by the soon dominating later version of the opera, only the final third version of Macbeth is considered as valid. Right from the outset, it was a matter of course for the editors of the present volume to include the second version as a first publication (in addition to the above-mentioned surviving pages of the first version), albeit in different forms. The surviving pages of the first version are reproduced in facsimile and the second version, as a subordinate form of the work, appears alongside Strauss’s piano reduction in a modified source edition, i.e. without intervention on the part of the editors. The ultimate third version is published as a full edition (please refer to the Critical Report for further details). In order to facilitate a comparative study of the second and third versions, the relevant page numbers of the score are placed opposite one another (the autograph piano reduction of the second version is included at the end of the music section of the volume). The editors hope that this synoptic representation will prompt interest in further studies on Strauss’s art of orchestration: a field of research which has still remained insufficiently examined. A study of Macbeth namely illuminates as clearly as could be wished how much significance Strauss allotted to sound alongside form. The subjects were not merely intended to generate an individual figure, but also specific tonal colours, and the instrumentation was simultaneously designed to provide an optimal communication of thematic-motivic texture to the audience. The “new path” threw up consequences which caused Strauss a considerable amount of difficulty. He was however a fast learner and had already swum free with Don Juan and all the more with Tod und Verklärung.

The edition Richard Strauss Works · Critical Edition (RSW) is the first scholarly critical edition of Richard Strauss’s complete musical oeuvre. Up until now, the majority of his compositions have been available only in largely uncorrected reprints of older publications. In the new edition, all compositions in major genres – the complete stage works, orchestral works, lieder and songs, and chamber music – are newly edited and published in 64 volumes. The edition also incorporates different versions and fragments alongside a documentation of the sources, the genesis of individual works, and performance variations authorised by the composer. The edition consists of printed musical volumes with integrated critical reports and is augmented by an online platform featuring text comparisons and annotated collections of documents. The extensive introductions and footnotes are written in German and English.

Members of the Honorary Board: S. K. H. Franz Herzog von Bayern, Renée Fleming, Mariss Jansons (†), Prof. Dr. Peter Ruzicka, Prof. Dr. Alexander Strauss, Dr. Christian Strauss (†), Christian Thielemann

5 Facts about the edition:
*The first scholarly edition of the works of Richard Strauss
*Issued by the Bavarian Academy of Sciences and Humanities in Munich under the direction of Hartmut Schick in cooperation with the Richard Strauss Institute in Garmisch-Partenkirchen. Work undertaken in the Richard Strauss Edition Research Centre at the Ludwig-Maximilians-Universität in Munich.
*The first volumes – Macbeth, Lieder Op. 10–29 and Don Juan – have been issued in April 2017.
*Critical reports are included in each volume; text comparisons and annotated collections of documents are available in digital form.
*Performance material to accompany the edition is in preparation.