bells, ship bell), Michael Vetter (voice, hands, recorder), and the composer (voice, conch horn, large cowbell, keisu, 14 rin, jug and key with water, kandy drum, pellet-bells on a strap). Stockhausen described as "crucial" an orchestral performance in London of Set sail for the Sun on 14 January 1970, in which the BBC Symphony Orchestra, rehearsed by the composer, was distributed around the audience in four groups, each with a "core player" from the Stockhausen Group. Other notable performances include the 1969 Darmstädter Ferienkurse, when the groups that had just finished the recordings for DG performed eleven of the texts in four public seminars, on 1–4 September in the Städtische Sporthalle am Böllenfalltor, many of the texts in multiple daily performances from 14 March to 14 September 1970 in the spherical auditorium of the German pavilion at Expo '70 in Osaka, and at the 1972 Shiraz Arts Festival, where a day of "Music in the City" on 7 September featured several component pieces of Aus den sieben Tagen performed at various places in the inner city from dawn to dusk. Content The fifteen constituent pieces are: Richtige Dauern (Right Durations), for ca. 4 players Unbegrenzt (Unlimited), for ensemble Verbindung (Connection), for ensemble Treffpunkt (Meeting Point), for ensemble Nachtmusik (Night Music), for ensemble Abwärts (Downward), for ensemble Aufwärts (Upward), for ensemble Oben und Unten (Above and Below), theater piece, for a man, a woman, a child, and 4 instrumentalists Intensität (Intensity), for ensemble Setz die Segel zur Sonne (Set Sail for the Sun), for ensemble Kommunion (Communion), for ensemble Litanei (Litany), for speaker or choir Es (It), for ensemble Goldstaub (Gold Dust), for ensemble Ankunft (Arrival), for speaker or speaking choir Often regarded as meditation exercises or prayers, all but two of these texts nonetheless describe in words specific musical events: "I don't want some spiritistic sitting—I want music! I don't mean something mystical, but rather everything completely direct, from concrete experience". Despite the manner of notation, Stockhausen's approach remains essentially serial:In his cycle FROM THE SEVEN DAYS Stockhausen attempts to find musical answers to such fundamental questions regarding the conditions of a harmonious interplay of spirit and matter, which correspond to his serial process thinking and to the maxims of the experimental production of the sound material by composing temporally ordered pulses. . . . As a composer he wants to mediate between the extremes rather than to just follow