A testimony and dedication precedes the facsimiles of Krenek's Parvula Corona Musicales (1950), notes to each movement, and the derived twelve-tone rows with which he worked. The work was prompted by the idea of creating a musical symbol of a wreath to be placed at the monument of Bach, the master. The work also derives twelve-tone series from Bach's Art of the Fugue, three of Beethoven's last quartets, and Wagner's Tristan.

Index Classifications: 1900s

Contributed by: Jean Pang