Klavierstuck XI: A Masterpiece of Modern Piano Music
Klavierstuck XI is one of the most influential and innovative works for piano in the 20th century. It was composed by Karlheinz Stockhausen in 1956 and is part of a series of 19 piano pieces that explore various aspects of serialism, aleatoricism, spatialization and timbre. Klavierstuck XI is unique in that it consists of a single sheet of music with 19 groups of notes, each with a different tempo, dynamics and articulation. The performer is free to choose the order and direction of the groups, creating a different version of the piece each time it is played.
The score of Klavierstuck XI is available for download in PDF format from the Internet Archive[^1^]. It was performed by Aloys Kontarsky in 1965 and transcribed from an out-of-print 2CD set. The recording is also available for streaming or downloading from the same source. A more recent recording of Klavierstucke I-XIV performed by Ellen Corver is available on CD 56 of the Stockhausen Complete Edition.
If you are interested in learning more about Klavierstuck XI and its composer, you can check out some of the following resources:
Stockhausen's official website, where you can find information about his life, works and publications.
A video lecture by pianist Pierre-Laurent Aimard, who explains the structure and interpretation of Klavierstuck XI.
An article by Jonathan W. Bernard, who analyzes the formal and harmonic aspects of Klavierstuck XI.
A book by Robin Maconie, who provides a comprehensive overview of Stockhausen's musical career and achievements.
Klavierstuck XI is a challenging but rewarding piece that showcases the creativity and originality of Stockhausen and his contribution to modern piano music. Whether you are a performer, a listener or a student, you will find something new and fascinating in this piece every time you encounter it.The History and Reception of Klavierstuck XI
Klavierstuck XI was composed in 1956, shortly after Stockhausen had completed his electronic masterpiece Gesang der JÃnglinge. It was the first piece in which Stockhausen applied his concept of \"moment form\", which he defined as \"a self-contained section of a composition that is recognizable by its characteristic and individual form\".  Stockhausen wanted to create a music that was \"polyvalent\", meaning that it could be perceived and interpreted in different ways depending on the listener's attention and attitude. 
Klavierstuck XI is dedicated to David Tudor, who gave the world premiere of Klavierstuck XI on 22 April 1957 in New York, in two very different versions.  Because of a misunderstanding, Stockhausen had promised the world premiere to Wolfgang Steinecke for the DarmstÃdter Ferienkurse in July, with Tudor as the pianist.  Stockhausen was not happy with Tudor's performance, which he found too fast and too uniform. He later wrote: \"I had imagined that he would play it like a virtuoso, with great contrasts and expression. But he played it like a machine, without any feeling\".  Stockhausen himself played the piece at Darmstadt, where it caused a sensation and a controversy among the audience and critics. Some praised it as a breakthrough in musical freedom and creativity, while others dismissed it as a gimmick or a hoax. 
Klavierstuck XI has since become one of the most widely performed and studied pieces of Stockhausen's oeuvre. It has been recorded by many pianists, including Aloys Kontarsky, Herbert Henck, Pierre-Laurent Aimard, Ian Pace and Nicolas Hodges. It has also inspired many composers to write their own open-form pieces, such as John Cage's Music of Changes (1951), Morton Feldman's Intermission 6 (1953), Earle Brown's December 1952 (1952) and Christian Wolff's For Piano I (1952).  Klavierstuck XI is a landmark in the history of piano music and a testament to Stockhausen's visionary and experimental spirit. a474f39169