order that each group of listeners may experience the scene from both perspectives.) The Farewell is an adaptation for five synthesizers of the choral part of Hoch-Zeiten, and it also exists in two further versions: one for solo percussionist with tape, Strahlen; the other as Klavierstück XIX for synthesizer and tape. The opera falls into the following parts: Scene 1: Lichter-Wasser (Sonntags-Gruß) (Lights-Waters—Sunday's Greeting), for soprano, tenor, and orchestra with synthesizer Scene 2: Engel-Prozessionen (Angel-Processions), for seven choral groups Scene 3: Licht-Bilder (Light-Pictures), for tenor, ring-modulated flute, basset horn, and ring-modulated trumpet Scene 4: Düfte-Zeichen (Scents-Signs), for 7 solo voices, boy soprano, and synthesizer Scene 5: Hoch-Zeiten (Weddings, but literally: High-Times), for choir and orchestra Sonntags-Abschied (Sunday's Farewell), for five synthesizers Auxiliary works Apart from the versions of various scenes that can be performed separately, and arrangements of such scenes, there are some pieces that lie outside of the Licht cycle proper, and yet are closely related to it. For example, the Licht superformula itself is adapted as a brief "signalling" piece: Licht-Ruf, Nr. 67, for variable ensemble (1995) Other pieces are "source" compositions, intermediate between the superformula and final compositional elaboration into parts of one of the operas. Michaels-Ruf, 1. ex Nr. 48½, for variable ensemble (1978), the unscored basic material for the Donnerstags-Gruß Xi, 1. ex Nr. 55, for a melody instrument with microtones (1986), the "seed" material for the Montags-Gruß Some others are themselves elaborated from such source compositions, but follow a separate line of development: Traum-Formel, Nr. 51⅔, for basset horn (1981), a recomposition of the formula of the first scene of Samstag Flautina, ex 56½, for flute with piccolo and alto flute (1989), related to the scene "In Hoffnung" from the first act of Montag Quitt, for alto flute, clarinet, and trumpet, Nr. 1 ex 59 (1989), composed out from the basic plan of the Montags-Abschied Ypsilon, Nr. 2 ex 59, for a melody instrument with microtones (1989), also elaborated from the Montags-Abschied plan Sukat, Nr. 2 ex 60, for alto flute and basset horn (1989), based on the portion of the Tuesday formula used for the Dienstags-Gruß Vibra-Elufa, Nr. 9¾ ex 64, for vibraphone (2003), based on the ninth "real scene" of Freitag (itself used as a source composition for other parts of that opera) Thinki, Nr. 1 ex 70, for flute (1997), recomposed from material in Michaelion, the final scene of Mittwoch There