Nino Rota (Milan, 1911 - Rome 1979) represents an emblematic case in the history of 20th century music, a musician labelled too often and too easily as Untimely (an adjective that the composer himself did not dislike and that actually reminded him of the Untimely Meditations by Nietzsche) or as the composer of film music due to the successful partnership with Federico Fellini. Time, the overcoming of historical avant-garde tendencies and a deeper understanding of his work have revealed a rather complex personality that did not like to separate music into ennobling levels but summarised it in a unicum. By refusing genre categorisations and by tearing down barriers and labels, the composer sought a more direct understanding with his audience, the same audience that found it difficult to establish a relationship with the radical experiences of the post-war years. Rota’s aesthetic transpires also through his education and creative path. It cannot be forgotten that he was a child prodigy and that, in full Italian Neoclassicism in 1930, he graduated in composition at the Conservatory of Santa Cecilia in Rome after studying privately with Alfredo Casella, one of the leading exponents of that artistic current. We could even think of Rota as the last composer of the 80’s generation, the world of Malipiero, Casella, Pizzetti, Respighi, as the last representative of a style of music that, although not yet fully appreciated , took inspiration from the Italian instrumental tradition of the 18th century. We can consider Rota as a composer who was not confined within the time boundaries of his style of reference more than as a writer taking inspiration from a style of the past. Rota remained true to his aesthetic ideals even if it was no longer practical and therein he proves to be a true upright man who did not yield to blandishments or compromises. Beyond the aesthetics, in his long career, Rota showed a creative composing technique characterised by great skill, deep knowledge of harmony and counterpoint combined with a brilliant melodic talent that is the basis for all musical invention and intuition. In this publication Roberto Fabbriciani, admirably accompanied by Massimiliano Damerini at the piano, presents music for flute composed by Nino Rota, some never published before and of significant value.