Works of art are often triggered by private events. Sara dolce tacere (1960), for example, was written on the occasion of the 40th birthday of Bruno Maderna, Nono's (former) teacher and close friend; and also in 1960 Nono wrote Ha venido for his daughter's first birthday. Djamila Boupacha (1962), ?Dónde estás, hermano? (1982) and Quando stanno morendo (1982), on the other hand, are clearly expressions attributable to the politically involved, the committed cosmopolitan Nono. It is amazing how he succeeds in incorporating a specific individuality of sound into each of his works notwithstanding the, in the final analysis, somehow similar motifs: "Whether it is the monody of Djamila Boupacha, or the complex interactions of voices and instruments in Quando stanno morendo, which are moreover transformed and set in spatial motion by live electronics in accordance with the composer's instructions: this music has its own eloquence, a musical eloquence. It ranges from the night-black in the second part of Quando stanno morendo to the magic of spring in Ha venido, from the gentle – in Sara dolce tacere – to the painful, insistent call for another kind of silence, for other days full of light in Djamila Boupacha.“ (Jürg Stenzl)