From the liner notes by Bruno Moretti: “The success of a instrumental rielaboration for solo instrument of a work originally written for orchestra is based on three assumptions: the vital force of the original material, the creativity of the transcriber and the vir- tuosity of the performer. [...]. Now, imagine a transcription for solo violin of some of the most famous soundtracks of Nino Rota, may seem like a dangerous challenge. It must be said at once that the first of the ingredients already provides in itself a guarantee: in fact, all of the material chosen by Mauro Tortorelli for this reworking, apart from the single exception of the Mazurka from Il Gattopardo by Luchino Visconti, comes from a long and fruitful collaboration with Fellini. From a first listen you could remain stunned by the ingenuity with which all the thematic material is treated, adapted and transformed for the solo violin. The elaboration by Tortorelli, while remaining linked to the performance of the orig- inal formal themes, operate an incredible transfiguration dictated by the absolute mastery of the technique of the in- strument. The general structure of these elaborations is not random: at the beginning and end are two songs that have the re- spective role of Introduction (track 1 Capriccio-Fantasia) and final (track 13 Fantasia in Rotazione), which give to the whole structure its own formal unit. The eleven titles that are divided between these two poles constitute a sort of suite in which the “Mazurka” from Il Gattopardo constitutes a small interlude with ironic and playful character. [...] Tortorelli manages to keep intact Rota’s style adapting it to a purely visrtuosistic writing which never overlaps the frankness and the freshness of the original material.”