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Respighi’s evocations of gladiators at the Circus Maximus, of early Christian pilgrims and other scenes of ancient Roman life, seem a surprisingly odd epilogue to an all-American conductor’s storied career.

Where “Will” is told with a straightforward directness, confronting practical realities, “Nightshift” is a film of ambiguous evocation, existing in an interzone between waking, dreaming and nightmare.

Fingers barely graced keys in an evocation of the calmly rippling watery surface.

Aaron Copland’s score to Martha Graham’s classic ballet offered the gift of simplicity, an evocation of open landscape and, most important, of spiritual renewal.

The razor sharp line between dark and light strictly separates the evocation of night from day.