When film composers turn to classical music, they shed constraints rather than catch a safety net. In his Metamorfosi di Violetta, Ennio Morricone dissects the tragic downfall of La Traviata's heroine with cinematic precision. Tigran Mansurian's Agnus Dei oscillates between song and dissonance to evoke unresolved grief. John Corigliano's Soliloquy ventures even deeper inward, transforming private loss into quiet resonance. Bernard Herrmann never pursued classical abstraction, but Hitchcock's musical alter ego—the composer behind the film scores for Psycho and Vertigo—delivers this program's crown jewel: Souvenir du voyage, a nostalgic treasure imbued with profound cinematic sensibility.