I'm buying Liebner's piano set as a Christmas gift, so I've been listening a lot to her interpretation and comparing with Kontarsky and Tudor. (Don't yet have Corver's!)
My impression is that they are all complementary and listening to just one doesn't give the full picture of the piano works. Particularly Liebner's radical choice of playing the pieces slowly really brings out the poetry of the music at the cost of the rhythms. I think it does work combined with her excellent playing.
What do people think of Liebner's interpretation? Also how does the Corver set which I don't have compare with the rest? I hear great things about it but also I'm living on student loan money right now ahaha
For me, the Corver version is the one that seems to have all the good things you hear in the others, and more. She plays with such poetry, such musicality, but also with such strength and muscularity where it is needed. For me, she is the one, more than anyone else, who brings out the life of the music together with the astonishing sense of structure and form that Stockhausen wrote into each piece. Her love and respect for the music comes across at every point, every bar. It has taken me a lot longer to get to like Liebner's performances, but I think that may well be because of the slow tempi she typically uses and this was so different from what I had come to know and expect that it was hard to hear them on their own terms. But, once I can put my own expectations aside, I do find, as you suggest, a certain poetry there that is very characteristic of her playing, and brings a special type of magic to her version. But I do think, ultimately, you will also find that poetry in Corver. I know the cost can be daunting, but it's really well worth saving for!! These pieces of Stockhausen are so full of ideas and, well, of music, that they can, I believe, not only accommodate different approaches but really be illuminated by them. I envy the person receiving your gift!
I feel that it could be useful to have a discussion-forum on the music of Stockhausen. There are so many people from all over the world, young and old, learned and eager to get into contact with this musical world: musicologists, composers, musicians, music lovers; people who plan concerts - who write books or have to give lectures and so on. So there should be much stuff, many ideas that we can share. And when we have open questions, there may be people who studied just that and could give a hint or a stimulus.
A problem might be the English language, but i feel that is the only possibility that many people who are interested can participate. And we can exercise tolerance to mistakes!