Fidan Aghayeva-Edler will perform Stockhausen's KLAVIERSTÜCK XI in two versions on Nov 3, 20.30h, in "km28", a venue for contemporary music in Berlin-Neukoelln, Karl-Marx-Str. 28. www.km28.de

Now the review of the annouced concert.
Km 28 is a small venue in Berlin Neukölln with an interesting program in contemporary music. It is one not very big room. In the background the bar, in one corner a grand piano, in front of that chairs, two sofas, armchairs etc. The place looks familiar.
Yesterday we listened to a piano recital with works by Stockhausen, Feldman and M. Hyytiäinen; the pianist was Fidan Aghayeva-Edler. A very interesting and intelligent program! All the pieces had an open form; that means, the pianist determines what is actually played. So we heard the pieces two or even three times, in a different way.
The Stockhausen was KLAVIERSTÜCK XI, first performed by David Tudor in 1957: On a big paper 19 groups of notes are dispersed irregularly. The pianist starts with the group that catches his eye spontaneously; at the end of the group he reads instructions for tempo, volume, way of playing for the next segment, that he also chooses freely etc. In this way each version is very different, but has the same Stockhausen-sound. The work is extremely demanding; Aghayeva-Edler knew, what was necessary and performed it very sensitively and with the demanded brilliance – very good!
From Feldman she performed Intermission 6, also from the fifties: On a sheet of paper single notes and chords are scattered; the pianist chooses freely and procedes to a new tone after the former totally has faded away. The result is a very meditative and sensitive piece, very different to Stockhausen's, though the making is similar. Stockhausen used this technique 50 years later in his last piano-cycle NATÜRLICHE DAUERN.
The last work was contemporary: Miika Hyytiäinen's „Torstainen“, a collection of short pieces, reflecting personal ideas and experiences of the composer – the pianist also is responsible, what and how it is performed. It was interesting to listen to this work in connection to Stockhausen: Though in Hyytiäinen the musical language sounds contemporary, it is definitely less complex and demanding; in Stockhausen the listener is more challenged, to create his own connections and meanings. That seems to me a general statement: the past is more avantgarde. But surprisingly: When I finally listened to Stockhausen after the work of Hyytiäinen, I had the impression that the Stockhausen also developed more to comparatively simple story-telling. As John Cage once said to Christian Wolff: Whatever we do, even when we compose with chance-operations, the final result is melody. We can't help it!