Stockhausen began collecting recordings of the national anthems in 1964, and in 1969 released Hymnen (German for anthems). Hymnen consists of four pieces (or 'regions') in which Stockhausen manipulates the anthems electronically. They are sped up, slowed down, rearranged, remodulated; essentially, morphed beyond recognition. Stockhausen wrote Hymnen to "accentuate the subjectivity of peoples in a time when uniformity is all too often mistaken for universality" and also to enlighten the public as to the, in the 1960's, new world of electronic music. Listeners' familiarity with the anthems provides them easy access into the world, and thus appreciation for the techniques utilized. In Stockhausen's words, "the more self-evident the What, the more attentive one becomes to the How." Other sounds Stockhausen recorded, such as public events, crowd noises, and conversations, are utilized as well. Hymnen is therefore an early example of musique concrete. Consider also the time period in which Stockhausen was writing. World War II was still fresh in the minds of those alive in the 1960's, and as one of the foremost German artists of the time, Stockhausen was looked to to make a statement about it-- about the rebuilding of Germany after the devastation, economically and morally, the war had caused. Hymnen is nearly two hours long and is a fairly difficult listen. It is also one of the most revered works of the 20th century. For a complete guide to the work, check out: http://home.earthlink.net/~almoritz/hymnenguide.htm .
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