她来了她来了，她带着女主视角来了！
维维少年时代对自己偶像的景仰
这一篇全员助攻
本篇有很多Twoset Violin的梗（我不是在把他们俩比作Breddy别这么想（才怪呢））
`Can you not remember me?!'
`You look familiar.'
`Il Prete Rosso! That's my nickname!'
`Il Prete Rosso...' he repeated that name over and over again. `Antonio Vivaldi?'
`Yes! Do you remember me?' I was so excited that he had finally remembered my name.
`Hmm... I think-' his speech was interrupted with a scream. There were the concussions again...
`Tomaso you must be joking with me, aren't you? You know who I am!' I was shaking him, trying to hypnotise myself that he was only trying to fool me, instead of actually suffering from a memory loss.
`Could you please stop shaking me, you're making me hurt.' He pleaded. `Tomaso? Who's that?'
`Tomaso Albinoni, the greatest opera composer who has ever lived, he refers to himself as Il Dilettante Veneto.' If it wasn't for the fact that I tried to recall his past memories, I definitely wouldn't have called him the greatest composer, never, I think.
`Albinoni?' He looked at me innocently, his eyes blinking at me, as if he was examining me and that name I had just called.
`Albinoni...' his thoughts were cut short with a yelp. This time the concussions were worse. He was in so much pain that he could not speak, but let out wails and sobs.
I quickly got him a handkerchief and started drying his tears. He suddenly hugged me, while rubbing his face against my chest (such a childish but cute thing to do, wait a second, do you know how expensive a shirt is?!), seeking for comfort. I laid him back on his bed. He had remained bedridden for the past 3 days, after the riding accident in Florence.
We were both summoned by the Grand Duke of Tuscany. Tomaso was supposed to compose sonatas for his orchestra and I was ordered to entertain him while he went hunting, but as a person who suffered from asthma, I gave the chance to Tomaso, knowing that he loved to ride. What I didn't expect was that his horse got spooked while he was cantering, and he fell off (I told him to wear a helmet and he didn't listen...). The Grand Duke's men came back with him after sunset, who was by then unconscious. I felt lucky that he had woken up the next morning, but was put down when I realised that he had lost his memory. I've been trying to remind him of who he is, but in vain...
`It's nine pm. You should retire.'
`Could you tell me a bedtime story?'
`What kind of bedtime story do I know, I'm a priest, I don't have children. What kind of weird proposal is this...' I thought, `I'm afraid I don't know any bedtime stories, you know I'm unmarried.'
`Then can you tell me everything you know between, umm, Antonio, what's his name again?'
`Vivaldi.'
`Ahh yes, and the dilettante dude.'
`Sure. It would take sometime though.' I told myself that this might be the best chance to bring back his past memories again, so I began-
`If it takes too long then you can tell me a little each day, it's quite late for you as well.'
`Such a considerate boy, wait he's 7 years older than me nevermind.' I thought, while running my fingers through his hair and pinching his cheeks. He seemed to enjoy it, because usually he would hit my hand if I dared touching him. I chuckled to myself.
`What's the pleasant matter?' He asked me curiously.
`Pleasant memories of the past.' I smiled back at him, and began:
Both me and Tomaso were students of Giovanni Legrenzi, the greatest Venetian violinist of the 17th century. I had first met him when I was 9, at Signor Legrenzi's lesson. He was a charming, slender young man, with a fair face, rosy cheeks, long, arched eyebrows, hazel eyes and rouge lips. That day, he was wearing a plain shirt with a cravat, without a ribbon wrapped around it though, his waistcoast was made out of brown brocade and were sleeveless (typical 17th century fashion), the lower half consisted of matching brocade breeches, silk stockings and high heels with gold buckles, though they were black, all black, even the heels, despite the fact that the red heels was the fashion at that time. He was sitting on the couch by the harpsichord that was at the back of the room, while holding his violin and bow with both hands, and his azure justacorps was held with his right arm. Despite his really aristocratic fashion tastes he wasn't wearing a wig, in fact he had tied his long, blonde hair as a low ponytail with a red ribbon.
It seemed like he was there just to chat with him, as they were talking about how different parts should be played in a trio sonata. Their conversations were really educating if I were at a music lecture, but he had taken up my lesson time! I was ready for some quarralling when he noticed me, put on his justacorps, packed up his violin and left the room. I thought he was going to leave me alone but, no. He stayed in the living room, watching me play Corelli's trio sonatas with Signor Legrenzi in amazement. He must have noticed that I was staring at him, and turned his head away (no idea why he was blushing). At the end of the first movement he came back in (what a stalker I thought), and asked politely whether we needed an accompanist or not. I was going to argue back with him when Signor Legrenzi agreed to his proposal, and gave him the score of the bass line.
I wanted to trick him a little, so when I reached my solo I decided to flex and (do a really scrilegious thing) change the tempo throught the piece. I wanted to make him annoyed so he can leave me alone. To my surprise the bass line that he played on the harpsichord still fitted perfectly with my solo, and he even managed to improvise a little with the higher register. I looked back at him, and quickly turned back when I made eye contact with him. Then came the tutti section. I couldn't fool around anymore because I had to play with signor Legrenzi, else I might get punished if I was playing out of tempo.
The 3rd movement came along, and I saw my chance to prank him even harder. I improvised on the music, and added in a lot of rubato (that was a common thing to do during the baroque era, not fun though if you haven't rehearsed it with the harpsichordist). I thought I must have vexed him, but I was wrong. He still managed to keep up with my pranks, and eventually started leading my parts. I felt ashamed for myself, but also continued to take hold of the right to lead the players-it was something that the first violin should do, not the guy on the harpsichord. But I was wrong. I was defeated again, because he started leading my part, and strangely, I found out that whenever I listened to his playing, the music seemed to flow smoother and more natural. I knew, by this time, I had fallen for this young man.
The 4th movement came, and we all played in unison. It was then I noticed how he was making eye contact with signor Legrenzi and me, to get information about how we were going to play our parts, and he also listened to us carefully, to make sure that his bass line fitted in perfectly with our playing.
`Possibly the best accompanist out there, actually listening to the other players, and can get them back on track quickly as well.' I thought. I looked back at the young man, and possibly taking this as a queue, he nodded and smiled back at me, and I felt my cheeks became hot. I possibly looked like a tomato (this is not a pun) by then, as I smiled back at him and turned back, embarrased.
The sonata had ended, and he told Signor Legrenzi that he was going to leave, he had felt like he had been a little rude just intruding in to someone's lesson time, and quickly apologised to me.
`No, I thought it was great!' I smiled back at him. `I loved your accompaniment, you must be a wonderful harpsichordist, signor!'
`I actually learnt it myself during my singing lessons, so I don't think I sounded that well, I was just trying to keep up with you two.'
`Nope, I think you sounded great! You're the first harpsichordist I know who listens to others.'
`Oh, please don't call me a harpsichordist, I play the violin. And I'm not professional at either of them, I am just an amateur musician.'
`But that doesn't mean you sound bad, I look foward to playing the harpsichord like you one day!'
`Thank you, jeune fille.' He bowed towards me.
`Such a courteous young man, different from those who would make fun of me.' I had thought. I had never been treated properly by the people around me, first because of my hair colour, second my health and last but not least, I'm the son of a poor barber who was looked down as an entertainer instead of a violinist (yes my father was a professional violinist and a barber). But this young man, his smile is so warming, and his behaviour is so courteous and...
My thoughts were interrupted when Signor Legrenzi asked him to play something for the two of us. I was excited, as I wanted to witness his playing, totally forgetting about the fact that he had already taken 6 mins of my lesson. He looked at us hesitantly, but after Signor Legrenzi requesting a couple of times and me playing cute, he took off his justacorps and went to unpack his violin.
He began to play a sonata by Giuseppe Torelli.
*skips playing because I am lazy.*
By the time he had finished I was shocked. He not only nailed the hardest bits of the sonata, but also improvised on it. He flexed, but his flexings made sure that the music sounded more natural, and pleasing for one to hear, instead of playing like a 100% accuracy but 0% musicality virtuoso who is just showing off himself, no matter those techniques and improvisations suited the music or not. Signor Legrenzi was impressed with his playing, while I looked at him in awe. He bowed towards the two of us and packed up his violin. I asked him whether he could stay until my lesson was over.
`Certainly.' He answered, not forgetting to smile at me.
I walked out when my lesson was over, and saluted the young man who was sitting on the chairs in the living room. We walked out together, and I started to ask him questions.
`How do you make the music so natural sounding? And you were flexing right? How do you make sure that it sounds pleasing at the same time as enjoying yourself?'
`Put yourself in the music, think about what the composer was thinking when he wrote the piece, try to figure out how his/her music should sound like and do your best at presenting it! Also make sure that the techniques used fitted well with the music. You are definitely not going to use tremolo during a long passage of semi quavers when the tempo marking is allegro, instead use it as an ornament in the slow movements with long notes. On the other hand, to keep the music flowing you can add dynamics, and could possibly use a bit of rubato. Just make sure that they're added in the correct spots else it sounds sacrilegious.'
`How do I know where to add in?'
`Hmm, I can't really explain it out, but you'll get the hang of it after you have been playing music for a long time.'
`So more practising?'
`Yup.'
There was silence. We were walking along the Great Canal, wandering off to nowhere. He broke the silence later.
`Where do you live? I can take a stroll with you back to your place.'
`It's no big deal, I come and leave violin lessons by myself.'
`But you're a young boy, I don't find it safe that you're walking by yourself.'
`It's fine. But if you want my address it's-'
`Tomaso!' My speech was interrupted by the shriek of a middle-aged man, who was marching towards the two of us.
`It's 4 o' clock and you still haven't been at the shops yet, your ledgers have been sitting on your desk for the entire day, waiting for you to fill them in. Why are you out here with your violin again, and you expect me, you old father to come and get you back to the shops everyday?'
`Sorry father, I had lost track of the time, I went to Signor Legrenzi today because...' responded the young man.
`No need to explain, just get yourself seated on your chair and fill up those ledgers. Go another day when you're not having work.'
I looked at them in confusion, and that's when the middle aged man noticed me. He was a hefty man, and when he looked down at me I thought he was going to eat me alive.
`Who is this?' Asked the middle aged man to his son.
`He's... What's your name?'
The middle aged man started chuckling `I thought you guys were hanging out for the whole day and you don't even know the little boy's name?'
`Umm... yeah...'
`My name is Antonio Vivaldi.' I answered, not wanting the young man to be embarrased.
`No wonder, your hair colour is identical to thst your father's.' The middle aged man responded.
`You know my father, sir?'
`He's a really famous violinist, I know. But I don't know of him.'
`Ahh I see, well what's your-'
`Tomaso you're coming to the shops with me right now.' Said the middle aged man to his son, pulling him away from me.
`Sorry to interrupt your conversation but my son lacks some time management skills, he's supposed to me entering transactions in ledgers and journals right now, maybe you guys can play together another time.'
`It's alright, sir.' I said politely. A polite son with, a sort of polite father? Well he was very courteous with me. But his actions of pulling his son away from me definitely wasn't elegant, it must have been painful for that young man to have those massive hands clenched around his slim arms, because I saw the pain on his face.
`Father, come on I can walk by myself, you're hurting me.'
`Oops, I'm sorry, but you have to hurry up, oh look there is a boat there, come you're going on that boat right now.'
And they ran towards the boat. I watched them while laughing at their comic actions when I suddenly remembered: I didn't know the young man's name either.
`Signor! What's your name I forgot to ask?'
`Tomaso Giovanni Albinoni, I'm 16 this year and I live at...' I didn't hear the rest, because they had already gotten faraway with the boat.
`So that's how the two men met?'
`Yup.'
`I think I have encountered something like this before as well, or maybe I witnessed one, or maybe it's deja vu. I don't really know.'
`Well, trust me you were part of this before.'
`I was? But I don't recall learning an instrument. In fact I don't think I can even read music now, how do I play like that young man whatever his name was?' Tomaso still sounded innocent, his eyes, though looked like they were looking at my soul deeply and were questioning him.
`You really can't read music now?' I asked, my voice shaking as I was on the brink of sobbing, because I was worried that it might be true. Then I would have lost a soulmate who I can discuss music with and would never disrespect me in any form.
`Well, I don't know because I haven't seen sheet music so far, but I guess you could try. At least I can still read books, right?'
His statement gave me hope, and I quickly found one of his manuscripts (they were all lying on his desk) and slid it in his hands. I lit more candles so the music could be read easier, and I heard his words.
`I can! Yes I can read music, and I'm surprised that I find this music familiar, I even know which direction it is going in even though I seem to have never seen it before.'
Just then, the manuscript papers dropped from his hands, he had another headache.
`Are you alright? Don't worry I'm here if you're not feeling well, I'll call the doctor... ugh I can't it's too late everyone must be resting.'
`You, Antonio? That's your name, yes it is. Why does my head hurt all the time when I find something familiar?' His voice was diminishing, as it was painful for him to speak in agony.
`I don't know, you have to accept the fact that I'm not a doctor or a know-all... Oh come on I'm always here, stop acting like a child okay? Ugh fine, looks like I have to hug you to comfort you, and stop using my shirt as a handkerchief or a piece of tissue paper, it's expensive and hard to wash.'
`Sorry, but... ugh my head hurts too much!'
`I can't solve this issue though, sorry that you have to go through this much pain.' I rubbed his temple and wiped his tears with my handkerchief. `Do you feel better now.'
`Hmm, a little.' He tried forcing a smile out to tell me that he had felt better, but it made me even sadder to see the sorrow in his eyes.
`I'll stay here all night, okay? Whenever your head hurts just ring the bell I've put on your bedside cabinet.'
`Wouldn't that be annoying for you though?'
`It's alright. I just don't want you to suffer too much.'
`Thanks, you are such a kind person, Antonio.'
I watched him fall asleep, and let out a long sigh. I could not control my emotions, and started crying after I had closed his bedroom door. Will he lose his memory forever? He doesn't seem to remember anything I have told him so far, and even if he tried to, those headaches will just come back and torment him. I don't see the point of being called a kind person, if I can't even help my soulmate recover from these sudden changes...
---我是分割线---
科普一下：
科莱利当时出版的都是trio sonatas，我就随便搞了一首过来写了写（因为我还是心水他的op5）
Tremolo在现在的定义是振音，也就是用很快的运弓速度拉出一堆重复的音符（这解释跟没解释没啥区别），但是巴洛克时期到古典时期（至少早古典）是指揉弦，也就是vibrato。利奥波德·莫扎特曾经在他一本关于小提琴的书里写过，揉弦可以用，但是尽量少用，其作用是在拉长音的时候做装饰，也就是说不是巴洛克音乐不能揉弦，而是得揉对了地儿，不然就跟Ben Lee或者Vov Dylan拉野蜂飞舞一样（关键词：sacrilegious）
至于少年红毛（应该是童年）为什么能被尼尼迷住，我有过类似事件亲身经历，我在学校和一位音乐老师和四季的冬的最后乐章，一开始是我在领着她，但是因为我第一次跟别人和duet，而且还是一位不熟的老师就导致我特别紧张，然后就从领奏变成了伴奏（好尴尬啊），但是钢伴（这篇是大键琴伴奏）如果水平高的话是可以把迷失的soloist拎出迷津的（这么解释希望能明白）
在巴洛克时期，许多乐团因为人少是没有指挥的，这是领奏的小提琴或者大键琴就会充当指挥。本片中的设定是维维拉一提，Legrenzi拉二提，阿尔比诺尼伴奏（太惨了），但是依靠自己过硬的musicality（和一直在听其他两位的演奏而获得信息）把指挥抢过去了（其实我觉得这里改成小斯卡拉蒂更合适，可能年少的小斯附身了尼尼，嗯，一定是这样的）
后面维维在观察尼尼的脑补其实道出了一个事实，就是不论是在乐团还是solo都要听别人，我之前学校的管弦乐团经常轻视单簧管（调音就她们费尽），但是我们和指挥共同认可的一点（也是所有乐团值得学习的一点）就是她们每一次合奏都会听对方和其他声部，而不是个吹个的
尼尼教红毛的那段话是我自己的感受，有的时候并不是炫技就能打动观众，而是得让观众对音乐产生共鸣，有些时候作曲家写的音乐本身已经够打动观众，就没有必要加一堆炫技的东西上去（你在Lascia ch'io pianga里面加一句run试试，我保证我给亨德尔递定音鼓而且保证他分分钟到你头上）。详情可以参考Farinelli il Castrato里面男主唱亨德尔的歌剧和自己哥哥的歌剧的时候观众不同的反应和Tous le matins du monde里面Marais为什么一开始不受老师待见，直到电影最后Marais跟老师说自己发现了音乐里情感的一面，老师才接受了他这个学生（电影里面有一幕我特别喜欢，就是Marais回到巴黎（好象是巴黎）找老师的时候，他说自己在音乐中发现了绝望，而老师则是说自己在音乐里找到了希望，并且接受了这个学生，一心一意的教他viola da gamba）
17世纪服装史我也科普一点吧：
17到18世纪的欧洲的fashion tastes都差不多，没有什么本质上的区别（感谢太阳王带起的法国潮流）
尼尼在回忆杀里面的服饰是标准17世纪贵族男子的打扮（衬衫+锦缎马甲+外套+锦缎马裤+丝绸长筒袜+高跟鞋），但是有几点和当时的审美不同：
第一，不戴假发。当时绝大多数的男性（和女性）都是要戴假发的，而且要把真发剃光…尼尼为什么不戴假发可以理解成自己不愿意每天照镜子面对自己的秃头（憋笑中），或者觉得自己真发挺好看的为什么要剃光了戴假发，还有就是他当时在屋里，17世纪的男生在室内是要摘假发带indoor cap的（还是一堆秃头）。当然17世纪的穷人因为买不起假发只能把自己的真发留的特别长并且做成假发的形状以假乱真（以真乱假？），但是他梳的低马尾是16世纪末的遗留物，表明了他就不喜欢假发这个东西
第二，一个合格的cravat（尼尼带的不是拉夫领，是阔领带！跟他画像上一毛一样的那个）是要有一根丝带从领带后面绕到前面系一个蝴蝶结的，很显然他没用这种东西
第三，当时的高跟鞋无论鞋是什么颜色，鞋跟必定是红的（太阳王的审美），但是尼尼的高跟鞋是五彩斑斓（bushi）的黑（虽然金的鞋扣已经够耀眼了）
至于为什么要脱外套，这是为了方便拉琴（本人曾经试过穿着西服外套拉琴，拉琴体验极差，所以之后即使是在冬天，不论琴房有没有开暖气我都会穿着短袖/长袖衬衫拉琴，连夹克都不会穿，影响太大了）不是色诱啊喂！别想歪！
其实这篇的服饰描写是为了给阿尔比诺尼立一个务实的人设，不管他家里多有钱，这些看着好看但是没用的东西还是不买（这里算是一个伏笔，后面会提到）（想想为什么他在分家之后还能过的那么舒适，随手就是400ducats，还不是因为善于理财所以存的钱多么）
还有就是为什么尼尼作为一个出身富商家庭的男孩子却可以穿贵族的服饰，well，他的母亲来自威尼斯的一个贵族家庭（The Fabris Family）所以他小时候也是被当成贵族养大的（不过有文献描写阿尔比诺尼一生都过着贵族般的生活，而且他成年之后已经经济独立，真·富有）
最后的最后，阿尔比诺尼他爸提到的是一堆会计词汇，表明尼尼当时是在他爸的商店里实习。其实历史上阿尔比诺尼在青年时期还真的在他爸商店里实习过，只不过不是会计/记账员，而是做文具的/纸张生产…（Grove music上的文献我没法读，但是好像是这样的）
科普先到这儿吧…被迫登出之前写了啥全忘了，想起来了会继续加/评论区说
下面我们瞎聊聊：
为什么维维才9岁就被迷住了，我也不知道，可能是因为神童都心智成熟的比较早吧（咱不是神童，咱也不敢问）
为什么全员助攻，为什么Legrenzi会同意让别的学生打扰他上课，这我也不知道（虽然我是作者）
再谈一下尼尼父亲的角色（阿尔比诺尼的父亲=阿爸？手动@yys）（以下因为涉及到父子关系，父亲叫老安东尼奥，儿子就叫托玛索），他在少年维维眼中是一个长得五大三粗（很可怕）但是很懂礼貌的人，见到维维的第一句话不是“你是不是那个红毛理发师的儿子？”，而是“你的发色继承了你的父亲，我知道他是一个小提琴家，但是我并不认识他”。这样有涵养的父亲肯定会影响到自己的孩子，所以托玛索一直是很有礼貌的跟红毛互动，而且一直在冲他微笑（想象一个瘦高的面善的并且长得帅的男孩纸冲你微笑而且行为举止很优雅，你能不动心么）
此外老安东尼奥的作用还在于后面反衬出Giovanni Battista Vivaldi对自己孩子不同的态度。老安东尼奥跟当时别的父母（比如亨德尔的父亲，泰勒曼的母亲）有一大差异，就是他允许孩子去搞音乐，前提是得分清主次。文章中老安东尼奥因为托玛索没有去实习都没有生气，而是跟儿子说以后换一个时间去找Legrenzi聊天/上课，这样不耽误正事; 而不是一棒子打死，不让儿子继续学音乐
并且本文中老安东尼奥对托玛索是一种放养（什么事都会跟儿子商量，但是不会溺爱他，该严格的还是很严格）的态度，第一这是为了让托玛索显得成熟，第二就是这还是个伏笔，后面也会跟这里联系起来
老安东尼奥对维瓦尔第的态度也是很好的（前面已经说过），没有觉得是眼前的这个男孩儿导致托玛索没有去实习，反而鼓励他们两个约在另一个不冲突的时间一起玩儿（真·助攻），可能公公看儿媳都比较顺眼（嗯？）
历史上的老安东尼奥跟托玛索关系怎么样还是个问题，但是大部分说法都是父子不和。我在一些文献上看到说父亲把自己所有的遗产和主要的店铺都留给了儿子，还有一些是说啥都没留，还有的说只留了所有店铺的管理权; 但是这些文献在一点上保持了一致，那就是老安东尼奥的遗言里明确指出托玛索可以不继承他的商店，并且去追寻音乐。关于托玛索的童年和音乐教育我们至今一无所知，除了当时有传言说他跟Legrenzi学过小提琴，和科莱利学过乐理，还是他爸把他送到罗马去学的。如果这些传言是真的话，那老安东尼奥是真的开明，谁会为了当时一个不受待见的行业给自己孩子找全北意大利最好的音乐家，就为了他能有一个可以放松的爱好？而且就算老安东尼奥认为托玛索玩物丧志，他的遗言可以明确写道他的产业有托玛索继承，论理更应该这样，因为托玛索是长子，就算他“玩物丧志”他也在青年时期实习过，可以顺利的接手业务（而且在老安东尼奥去世之前托玛索的签名永远是Il Violino Dilettante Veneto译为威尼斯的小提琴业余爱好者，也就是说他从未把作曲看成职业，知道父亲去世之后，为了填补产业的亏空只好把自己的签名从业余爱好者改成作曲家，这说不通为什么老安东尼奥会这么不喜欢托玛索）
我认为父子二人的冲突应该不是在音乐上，因为种种迹象表明老安东尼奥对托玛索很开明，而且托玛索在父亲去世之前都没有把音乐当成一个职业（很多文献中写了for pleasure instead of profit）那么…（在我认为）真相只有一个
在我的分析（全靠看文献，因为没有关于他性格的直接记载）里面托玛索是性情应该不错（他从未公开说过任何一个作曲家/自己竞争对手的不是）一个比较内向（自闭）（看看为什么北意大利的音乐家们他只跟Biffi玩儿，是的，虽然认识红毛但是两人关系怎么样也是个谜…据说红毛很尊敬他，但是他对红毛的态度我就不清楚了）、心气儿高（为啥在自己的messa a tre voci被教廷拒绝后没有写过任何sacred music，以及在1730-41年南意的音乐潮流影响到了整个意大利之后他直接放弃写歌剧了），比较obedient但是对很多东西都有自己看法的人（也就是说如果那件事情不符合他的三观他不会明指出来，但是心里会不爽），所以他和父亲的矛盾很有可能出在误会上，我认为老安东尼奥曾经劝过（是好好的劝还是直接开打也是个问题，不过后者会加深这个误会）托玛索要少玩儿音乐，毕竟这是一个不受待见+很难赚钱的行业，但是这在儿子眼中就会被认为是干预自己的爱好，加上他不爱交谈，很有可能不跟父亲解释清楚但是自己疏远他（这种事儿要是换了亨德尔、泰勒曼或者维瓦尔第肯定有不同的效果）
老安东尼奥的遗言我认为不是在惩罚托玛索（他想的话可以直接遗言里说我儿子不能搞音乐，当时遗言可以比作法律文件，所以只要托玛索一搞就是犯法了），反而是在解脱/宽慰他，告诉他自己不介意他搞音乐，也不会再插手
至于托玛索看到遗言的反应，有可能很肤浅的认为在自己和父亲的这场没有硝烟的战争里赢了，并且沾沾自喜，但也有可能后知后觉发现父亲从未做过要干预自己职业的事儿，而为自己之前的所作所为感到后悔和汗颜。我个人认为后者更有可能，因为在老安东尼奥明确的把自己的产业交给他的弟弟们之后，他还是尽自己所能帮助填补上企业的亏空（老安东尼奥的企业里全都是负债），这我想是在祈求父亲的原谅吧，当然了势力一点可以说因为老安东尼奥的企业是sole trader，也就是说他不是有限企业（如果企业破产得拿企业拥有者的财产补上），如果企业破产，不仅他的弟弟们得拿家当还债，他也得拿自己的家当补上这些东西。问题就在于他没有继承这些遗产，根本不用为了一个跟自己无关的企业费心费力，这我觉得至少出自一点儿对父亲的愧疚和真心吧…
当然如果是跟音乐无关的矛盾那当我没说😅
诶跑题了跑题了，如果各位想看我的分析的话我可以直接出一期
请各位原谅我又用了无脑玛丽苏失忆梗，并且为什么失忆之后尼尼的性格彻底变得跟一个孩子（看这里有一只巨大的男孩在基友怀里蹭脸）一样，这我也不知道，但是我敢保证他没有分裂出另一个人格
不过就算失忆+性格反转尼尼也是很懂礼貌的，维维说什么就听什么，还考虑到讲睡前故事会不会太晚影响到对象的睡眠（这也太可爱了）
失忆期间维维试图当攻（毕竟对象现在性格那么好，欺负欺负他完全不在话下），不过尼尼想起来自己是谁之后就…等着自己的level被一点一点儿的弄下去吧…
哦对了这一篇里面尼尼的性格可以参考小斯卡拉蒂（很外向，脾气好的一个阳光大男孩儿），之后这个性格会彻底消失，变成我分析出来的那个内向的性格（为什么他性情大变，女主篇最后会解释，也就是说这是一个巨大的坑）
卖安利时间到：
Corelli-violin sonatas op5
Legrenzi-balletti a tre op16
Domenico Scarlatti-sonata in E major k380（坐实了这篇人设借鉴小斯）
男女主这个时候还没开始作曲，我也找不到什么合适的音乐，不过rv523的第二乐章很适合尼尼对vibrato的见解，可以听一听
有空我可以出一篇关于k380和rv523的分析，如果各位读者大大们想看的话（咕咕咕咕咕咕）
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