The discovery of an electronic music work San Fernando Sequence (1963) by Ernst Krenek that has long been considered lost poses interpretative problems that involve, in circular fashion, access to the sound fabric and the identification of the work. The article frames the sources of this work in the historical-technological context of their production and, through a musicological analysis aimed at an evaluation of their authenticity, leads to an aesthetic interpretation of the work within a complex stage of the development of the author’s compositional thinking in relation to the electronic medium.
