In studying the compositions of the Three Tentos, it is often neglected that they are embedded in their genesis and structure in a complex network: in other compositions by Henze, in their respective semantics and in Henze's personal acquaintances who are connected with them.

The catalogue of Sylvano Bussotti's correspondence (1931-2021) kept at the ‘NoMus’ Study and Research Centre on 20th and Contemporary Music in Milan offers for the first time an overview of the correspondence kept in the composer's private archive during his lifetime. In the corpus of around 1,500 documents, the correspondents are very varied and include famous personalities from the Italian and international cultural scene as well as lesser-known names from the author's inner circle.
Page 109 contains two short documents written by Hans Werner Henze in 1986 and 1991.

This volume brings together letters, essays, photos and documents. They can be read as a reflection of a time when new music was just beginning to emerge, when encrusted morals were barely beginning to loosen and racism in this country was only somewhat more covert. Pearson knew how to compensate for this social and cultural tension and, despite his success, also knew why he was denied classical opera roles despite his outstanding singing qualities and the praise he received for them.