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Maestro Rossi, who taught film music history on Tuesdays, knew such a scholar—Professor Elena Martelli, who had written on Rota’s chamber works. Rossi made the introduction over coffee. Martelli opened the scanned pages on her tablet, fingers steepling. Her face, usually impassive, softened in a way Matteo would not soon forget. "Listen," she said, and hummed a bar of the first piece. "That serial motif—it's not serial in the Schoenberg sense—it's a Rota hallmark: a small, recurring interval that returns across later film scores." She compared phrases from the pieces with marginal sketches in Rota’s published notebooks, drawing parallels that felt convincing. "Privately printed pedagogical material? Yes. Rota loved to write for students," she said. Her face, usually impassive, softened in a way