1

9

13

20

25

33

37

40

47

51

57

61

67

70

82

Flying Machines

Sixty Beggars

Old Man with Water Studies

Study of a Woman’s Hands

The Kite of the Cradle

Tank

Polishing Imperfections in Glass

A Moth to the Light

Perspectives of Disappearance

La Scapigliata

The Existence of Nothingness

The Impossibility of Perpetual Motion

Lenses for Looking at the Moon

Study of a Deluge

This is the Way Birds Descend

The pieces in this collection were written as a cycle; however, performers are free to play individual ‘books’, or

indeed to select as they chose from among them. They were inspired by a visit to Vinci, birthplace of Leonardo.

Though titled after his designs, studies, paintings and writings, they are not intended as musical evocations or

'translations'; rather as “imaginings” of the internal joys, frustrations, inspirations and dreams that might have

accompanied his creative processes.

This, the second volume in a series, forms part of an ongoing project that is open ended. It is dedicated to the

young pianist whose playing rekindled my compositional spark, and to whom I will always be deeply indebted.

Book IBook IBook IBook I

I

II

III

IV

V

Book IIBook IIBook IIBook II

VI

VII

VIII

IX

X

Book IIIBook IIIBook IIIBook III

XI

XII

XIII

XIV

XV

Peter Seabourne

StepsVolume 2

An second anthology of music for piano

Studies of Invention

Surging Surging Surging Surging q.=60-66.=60-66.=60-66.=60-66

Studies of Invention

Book I

I. Flying Machines

Peter SeabourneAugust 2006 - February 2007

Piano

3

9

13

3

3

3

3

3

3 3 3

5 5

3

3

3

mfmolto

mfmolto

5:6 3 3 3

1

16

18

20

22

5 5

3

3

f

3

3

3 5

[B§] 3

3

3 3

3 3 3

f

3rd Ped. simile

2

25

26

27

29

3 3 3 3

3:2h

3:2h

ff

3 33 3 3 3

3

ff

Ped come prima

3 3 3 3 3 3

3

3

31

33

36

39

43

mf

[D]

3 3 3 3 3 3

3 3 3 3

3 3

3

3

[B] [B]

3

3

3

33

[D]

3 3

3 3

3 3

mf

3 3 3 3 3

5 5 5:6

p

mf p3 3 3 3

3rd Ped. 3rd Ped. 3rd Ped.

5 5:6

4

48

53

57

62 rather enigmaticrather enigmaticrather enigmaticrather enigmatic

70

mp

3

5:6 3 3 5

3

5:6 3 5:6

mf

f

5:6

5:6

3

3

3

33

3

mf mp

5:6

5 5:65:6

3

3 3

mp

5:6

3 5:6

5:6

3 33 3 3 3

3

3 3

33

5

75

79

84

89

92

3 p3

3 ppp

3 3 5

5 5:6

mp

3

[R.H.]

[R.H.]

3 3 3 3

mp

3mf f

[R.H.]

[R.H.] 3 35

3

3

3 3 3 3 3 3

3

3

3

3

3

3

3 mf3 3 5 3

3

5:6

3

3

3

3

3

3

6

95

99

101

103

f

3 3 3 3

f

3 3 3

mf

3:2h

f 3 3 3

3:2h

mf

3 3 3 3 3 3

7

107

115

117

accel. accel. accel. accel.

119

f

3 33 3 3

ff

3 3 3 3 3 3 3

ff

3rd Ped.

3

3

3

3

3

3

3

3

8

Melancholy Melancholy Melancholy Melancholy q = 48 = 48 = 48 = 48

II. Sixty Beggars

Piano

5

9

12

p

pp

3

pp

mp

5

5

9

14

16

18

19

21

f intense

3

5

3

3

3

3

5

5 3 5

rubato will be necessary to allow for the spread chords. These should be

started on the beat, delaying the melodic line for the minimum time possible.

ff

5 5

5

5

[B]

5 53

3

35

[A]

3

10

23

26

28

31

molto

5

3

[B]

poco cresc.

[Db]

7:8 5

3 5 3 5 3

cresc. poco a poco

mf

3

3

5

11

smudgedsmudgedsmudgedsmudged34

38

42

44

In this system each stave's accidentals are independent viz. there are no 'reminders' between staves

less than the top stave

mp

3

5:6

p

p

mp

6 5 3

( )

p

12

Maestoso Maestoso Maestoso Maestoso e = 152 = 152 = 152 = 152

III. Old Man with Water Studies

Piano

5

9

f (non troppo)

molto legato 5 5 3

*

5

5 3

5 3

5

5 3

5

5 3

* Phrasing is not copied between staves where identical, to avoid clutter. It should be in broad sweeps and not over fussily subdivided into irregular beat groups:

the effect intended is of a slightly imperfectly moving large object, not of "danciness". A certain amount of rubato will be required to allow for the faster moving inner

parts. Thus absolute tempo and rhythmic accuracy are to be subordinate to the sense of massiveness and melodic line.

5 3

5

5 3

13

12

15

18

22

3 5

3

5

5

5 3

5

5 3

mf

5 5 3

5 5 3

mp

5 5

3 3

3 3

14

27

30

33

36

3

3

3

3

cresc. poco a poco

[B, C#]

cresc. poco a poco

3

3

3

3

3

3

più cresc.

più cresc.

It is realised that it will not always be possible physically to hold the melody notes

in this passage, fingers being required for the faster inner parts. However, this 'fiction' is maintained to indicate the line.

ff massive

5 3

5 3

3 3

3 3

15

38

42

44

46

5 3

The melodic line should be maintained as much as

possible, even though repeated notes are required.

53

5 3 5

5 3 5

5

5

3

16

49

52

57

63

67

dim. . . . . . . poco . . . . . . a . . . . . .poco

3

3 3

3

3

3

3 3 3

3 3 3

p

mp

5 5 5

5 5 5

mf

3 5

3

3

5

mp

3 5

5

17

71

77

82

85

p

5 5 5

pp

5

poco

p

ppp

pp

5

5 5

p

pp

p

mp

molto

mp

molto

(if possible)

18

88

91

94

97

fff

5 5

5 5

5

5

3

3

non dim.

19

Gently, simply Gently, simply Gently, simply Gently, simply q = 66 = 66 = 66 = 66

IV. Study of a Woman's Hands

Piano

4

7

p p p

p mp

mp mf

mp

p mp

p

The texture in this piece should not be too dry - a certain 'generosity' in the pedalling is intended.

This is left to the player, but maintaining melodic lines should be paramount.

mp

20

9

12

14

16

mp

mf

mp

mp

mp

mp p p

21

18

21

24

f poco

mp

f

mp

poco

mp

5

non troppo

f

as much with weight as with loudness

[D#]

poco piùf

3

non troppo

f

poco più

f

3rd Ped.

3rd Ped.

22

26

28

30

32

mp

mp

treble notes not arpeggiated

f

ff

3 33

ff

5

3

3 3

23

35

39

molto

p

3 3

molto

p

pp

24

With great energy and passion With great energy and passion With great energy and passion With great energy and passion q=88=88=88=88

V. The Kite of the Cradle

4

6

9

f

mf

5

poco

3

3

3

3

3

3

3 3

f

3 3

3

3

3 3 3 3

ff36 5 3

3

3

3

3 3 3 3 3 3 3

poco

5

3 3 3 3 3 3 3 3

25

12

14

16

18

20

(f)

d - i - m - i - n - u - e - n - d - o

5

mf

3

3

3 3

5

3

3

3

3 3

3

3 3

3

3

f

5

3

3

3

3 3

3

33

33

ff (subito meno)

f

3 3 3 3 3

3 3 3 3 3

33

33

26

22

25

28

31

34

ff

3 3 3 3

3 5

3 3 3 3

33

33

3 3 3 3

f

3 3 3 3 3

3 3

3

f

3 3 3 3 3 3 3 3 3 3 3 3

fff

pp3 3 3

3

3 3

3 3

3 3

3

27

37

40

43

46

49

3 3

3 3 3

3 3 3 3 3 3 3 3

3

mp subitop

3

3 3 3 3 3 3

3

3

3 3 3 3

mp p

3 3

3 3 3 3

3 3 3 3 33

3 3 3 3

3 5

3 3 3 3 3 3 3 3 3 3 3 3

p

3

33

3 3 3

3

3 3

3

3 3

28

51

53

55

58

61

7:65

3

3 3

3 33

3

3 3

3

f

33

33

3 3

33 3 3

ff

5 5 3

33 3

3

33 3

33

3 3

subito fff

subitomp

3 33

3 3 3

3 3

3 3 3 3 3 3 3 3

pp

3 3 3 3 3 3

3 3 3 3 3

33 3 3 3

29

64

67

69

72

75

p

3 3 3 3 3 3 3 3 3 3

[light pedal]

3 3 3 33 3 3 3 3 3 3

mf

3 3

3

3

3 3

f

3 3 3 3 3 3 3 3

[accidentals simile]

ff f3 3 3 3 3 3 3 3

5

3

3

3

3 3

5

3

3

3

3 3

3

3 3

3

3

30

77

79

82

84

88

ff

35

3

3

3

33

3

3 3 3 3 3 3

[Bb]

33

5

3

3

3

3

3 3 3

3 3 3 3 3 3 3 3

3 3 3 3

3

3 3 3 3 3 3 3 3 3 3 3

(m)f dim. ma non troppo3 3 3 3 3 3 3 3 3 3 3 3

ff mf3 3

31

97delicate - fleetingdelicate - fleetingdelicate - fleetingdelicate - fleeting

104

[ ]

pp mp pp mp

3 3 3 3

pp mp pp mp pp

ppp

pp

3

3 3 3 3 3

32

Dry, truculent - somewhat 'snatched' Dry, truculent - somewhat 'snatched' Dry, truculent - somewhat 'snatched' Dry, truculent - somewhat 'snatched' q = 92 = 92 = 92 = 92

VI. Tank

Book II

Piano

5

8

10

p

exaggerated crescendos

ff mp f p ff p ff mp f3

3 3 3

mp ff mp ff

f mf f mp f mp

3 3 33 3

ff mp f ff

f

3 3 3

mp mf pp

3 3

3rd Ped.

3

33

13

17

21

subdued but with weightsubdued but with weightsubdued but with weightsubdued but with weight23

25

p mf p mfmf pp3

3rd Ped.

una corda

p p poco mp

p sempre

f

tre corde

mp

f p mf33

33

33

3

p mp

p f molto

p

poco

33

p sempre p sempre

3 3

mp

poco,

pp p pp

ppoco

mp p mp

3 33

34

28

31

34

Tumultous (with as little rubato as possible)Tumultous (with as little rubato as possible)Tumultous (with as little rubato as possible)Tumultous (with as little rubato as possible)

36

38

mp mf

mpmf mp

mp mf mp

33

mf

cresc. poco a poco

mfmp mf mp mf mp mf

3 3 3

molto

,

3 3

3

3

3 3

fff

3

3

3

3

3

3

3 3 3

3

35

40

42

45

49

53

3 3 3

3

3

3 3 3

3 3 33

[loco]

3 3 3

mp mf mp mf pp

3

3

ppp ppp

pp pp p pp p

3 3 3

p f 3

pp p

3

36

Mesmeric, luminous, subdued Mesmeric, luminous, subdued Mesmeric, luminous, subdued Mesmeric, luminous, subdued q.=60.=60.=60.=60

VII. Polishing Imperfections in Glass

Piano

6

11

15

cantabile

p legatissimo

*

simile

("baignées de pedales")

meno

poco più

* The RH part should be like one line with the top note sustained, but dominant; not like two separate voices.

LH phrasing is not marked as it will follow the RH.. Pedaling should be very generous, with a glassy sound quality.

37

19

24

29

34

39

meno

mp

both R.H. parts are within the quintuplet

come prima

5:6

5:6 5:6 5:6

5:6

sub. p

5:6

5:65:6

5:6

poco a poco più

5:6

5:6 5:6

38

43

47

51

57

63

poco f

5:6

poco

mf

3rd Ped.

3rd Ped.

mp

p

pp

39

Nervous, anxious Nervous, anxious Nervous, anxious Nervous, anxious e = 200 = 200 = 200 = 200

VIII. A Moth to the Light

Piano

6

12

17

mp

mp

3 3

(m)f subito

mp mf3 3 3 3

mp molto f3

3 3 3

mp

p

p

3 3

3 3

40

23

30

36

43

48

mf mp

3 3 3

3

3

3

3

mf f3 3 3

ff

3 3 3 3 3 3 3 3 3 3 3

sub. pp

ff

sub.

pp

just enough to let chord emerge quietly from the tumult

simile

41

57

63

69

76

82

mp pp

mp

pp

3 3 3

mf

3

3 3 3

f

molto p

pp

3

3

mf

pp

3 3 3

mf

42

87

91

97

102

107

f

mp

3 3

mf

3 3 3

ff f

3 3 3 3 3 3 3 3

ff

3 3 3

3 3

pp

3

3

3

43

113

119

124

129

135

p

p

mp

mp

mp mf mp mf

3 3 3

mp

3 3

33

p

pp

3

poco3 3 3 3

(pp)

(pp) mf

moltop mp

5

phrase 'bouncing off' the bass notes

3

mp mp

5:6

3

44

144

151

158

163

169

pocof

molto

5:65:6

mp mp

mp

mf f mf5:6

5

5

mf

f

mf

3 3 3 3

ff

sub.mf

molto

5 5

33

3

p

5

5

3

3 3

3

3 3 3 3

45

176

182

188

192

196

non rit.non rit.non rit.non rit.

mp

mp mp mp

più legato3 3 3 3

3 3

cresc. poco a poco

3 3 3

3

f

3 3 3

3 3 3

mf

moltoff

3 3 3 3 3 3 3 3 3 3

3 3 3

3 3 3 3 3 3 3 7:8

staccato, if possible

3 3 3

3

33 3 7:8

46

Wistful Wistful Wistful Wistful q = 60 = 60 = 60 = 60

IX. Perspectives of Disappearance

Piano

4

7

10

p

5 5

A minimum of pedaling is marked to avoid fussiness. However, the sound

intended is not dry but luminous, so the pedal should be used generously.

3

p

mf

5

53

5

p

mp

p pp

poco

3

3

47

12

15

17

20

23

mf mp

3 5 3 3 3 3 5

3 5

mf mp

3

5:6

5

(poco subito)

ppoco

5 5

pp

3

3

mp

p

3rd Ped.

This is merely suggested pedaling - sustained and 'glossy, but not too over-resonant. The performer is free to alter it.

The lower part is to be slightly more distant until bar 27

pp

3

3rd Ped.

pp

48

poco agitatopoco agitatopoco agitatopoco agitato25

27

29

32

mp mp

5 5

5

3rd Ped.

p mp

3rd Ped.

mf

mf mpmolto

35

35

35

3rd Ped.

f

3

ff5 3 5

5:6

5

poco meno mf

3remaining intense

5 5

49

36

40

44

48

52

mp

3

p

(p)

poco pp

mp

moltop

55

sub.mp

sub.p

pp

molto molto p

5 5

pp ppp

ppten.

pp

pp

3

50

Light - delicate - dancing Light - delicate - dancing Light - delicate - dancing Light - delicate - dancing q = 100 = 100 = 100 = 100

X. La Scapigliata

Piano

4

7

11

mp mp mp mp mp

A slightly 'fussy', pointed use of dynamics is intended, with strong diminuendi

for paired notes, but with phrased dynamics following the dotted hairpins above.mp mp

3 3 3 3 3 3 3 33

mp mp mp mf mf mp

mf mp

3 3 3 3 3 3

mf

3 3 3 3 3 3

poco mf mf mf mp3 3 3 3

mf mf

3 3 3

51

14

17

20

22

24

mf mf f mf mp

3 3

f

3

33 3 3 3

mf mp

moltof

molto mp molto

3 3 3

mp molto

3

3 33

f mf f

pocoff

3 3

f

3

3

3

3

3

3

f ff

3

f

3 3 3

3

moltopp

3

3 3 3

33

52

28AgitatoAgitatoAgitatoAgitato

33

36

39

44

mp

3 3 3

3 3

accented notes here not over attacked,

just standing out from triplets

3 3 3 3 3

3

33 3 3 3 3 3 3

mp mp

3 3 33

pp pp

poco

p p

pp mp

3

33 3 3

3 3

3

3

mp mf mp

moltof ff

f 5 5

33

5 5

ff

poco

fpoco

mf mp

33

3

3 3

53

50

54

59

63

playfulplayfulplayfulplayful

66

poco

mppoco3 3

3 3 3 3

3 3 3

p mp pp p

3 3

3 3

mp p mf5 5

poco più

pp p

p p mp3

poco

p

mp p

mp

p

mp5

3

3

3 3

mp p p p

mp mp

p p mp

mp

3 3 3 3 3

33

3

54

69

72

77

mf p mf

mf

mp3

mp p

mf

mp

p

3

3 3 3 3

3

3

mf

p

moltomf

p p p33

mp p

mp

mf

mp

3 3

p p p

lontano

una corda

ppp sub.

tre corde

p pp

poco

3

55

Andante - un poco pesante Andante - un poco pesante Andante - un poco pesante Andante - un poco pesante q = 66= 66= 66= 66

XI. The Existence of Nothingness

Book III

4

7

11

f3 3

3 3

mf f

3

3 3

33

3 3

mf mf

3

3

3 3 3

3

mf3

3 3

5

3 3

3

56

16

19

22

26

30

3

3

3 3 3

f

f

3 3

3rd Ped.

3

3 3

5 3 3

3

ff

f

ff

bars 22 & 24 A little rubato will be obviously be necessary to accommodate the spread chord.

The top two (melody) notes should not be arpeggiated.

3 3 3

pochiss.

f

poco3 3 3

3 3

(ancora) f

poco

f ff

3 3 33 3 3

top two notes not arpeggiated. Rubato come prima - but as little as possible.

3 33 3 3

57

33

37

39

41

sub. mf f mf

molto

3

3

3

3

3

ff

3

3 3

3 3

5 5

ff

3 3

3

3 3

fff3 3 7:85 3

fff

3 33 3

5

ffsoltanto un poco meno

poco menof

3 3 33 3

3

3

3

3

3 3

3 3

3 3 3

58

44

48

53

59

63

33

3 3

3

3

3

3

3

mf mp

3 3

3 3 5 3 3 3 3

mp

3 3

p

3

5 3

3 3 3 3

pp

3rd Ped.3 3 3 3 3

3

3 3 3

3 3

59

71

78

p semplice

3

3 3 3 3

3

3

3 3 3

pp

3

3

60

Whirring - like a wonky tarantella! Whirring - like a wonky tarantella! Whirring - like a wonky tarantella! Whirring - like a wonky tarantella! e = 168 = 168 = 168 = 168

XII. The Impossibility of Perpetual Motion

4

8

12

legatiss.mf

3 3 3 5 3 3 3 5

f

3 5 3

3

3

3

3

5 5 3 3

f

3 3 3 5 3 3 3 3

3 3 3

f

3 3 5 5 3

3 3 3 3 3

61

15

18

21

24

26

ff

f

3 33 3 3 3

3 3

f 3 3 3 3 3 3

5 3 3

3 3 3 3

mp f3 5

mf f

3 3 3

3 3 3 3 3 3

ff mp

ff

mp

3 3 3 3 3 3 3 3

62

28

30

33

36

39

f

5 5 3 3

sub.p

3 3 3 3 3 3 3 3 3

p

3 3 3 5 3 3 3 3

3

3

3 3 3 5 3

3

33

f

3 3 3 3 33

3 3 3

63

42

45

49

53

58

ff

p ffmp

molto

ff

ffmfmolto

3 3

ff

p ff mp mppiù

3 3 3 5 3 3 3 3

(p)

mf mf mfmolto

3

p f 5 3

p

5 3 3 5

5 3

pp

pp

poco3 3

3

5 3 3 3 3

64

63

66

70

73

76

p

molto

f

3 3 3

3

3 3

p sfz mp

3

sfz sfz

3 3 3 3 3 3 33

f

3 3 3 5

3

sfz sfz

ff fff

3 3 3 5 3 3 3 3 3

[E]

3 3 3 3

3

5 3

3 3 3

3 3 3

3 3 3 3

3 3

65

79

non rit....non rit....non rit....non rit....

fff

3

3

3

33 3 3 3 3 3

66

Almost still - very slow Almost still - very slow Almost still - very slow Almost still - very slow q = 36 = 36 = 36 = 36

XIII. Lenses for Looking at the Moon

Piano

5

8

lontano

pp

*

* both notes

pp

una corda

ppp

67

11

16

20

23

tre corde

pp

lontano

3come prima3

pp

una corda

ppp

68

27

31

34

37

tre corde

pp

lontano

3

pp

3

pp

una corda

ppp

69

Massive Massive Massive Massive q = 76 = 76 = 76 = 76

XIV. Study of a Deluge

Piano

4

(tre corde)

3

fff

3

3

3

3

ff

3 5

3

f 3

3

3

f

3

3 3

70

7

10

13

ff fff

3 f ff 3

3

fff

ff

3

ff f ff

5

3

3 3

fff ff

f

3 5

fff

3

3 3

ff3

f

3 3

5

fff

fff

3

f fff

ff

3

fff3

3

3

3

5

71

16

19

22

f f3 5 5

ff ff

f f

3 53 3

ff

ff

ff f

35 3 5

f

f

3 3

f

5

3

poco meno

5 35

poco meno

3

poco meno

5

3 3 3

72

25Meno mosso Meno mosso Meno mosso Meno mosso q = 66 = 66 = 66 = 66

29

32

mp

3 mp

3

33

mp mp

p mp mp p mp

mp

3 mf

poco

mf

poco

mf

mp p mp mf

p

3 p

3

mp

mp

3

mp

mp

p p mp mp mp

73

36

39

3

3

[R.H.]

poco3 53

mf

33 3

mf

mf

mf

5

74

42

44

46

3

333

3

f ff

3 5

f

f

f ff

3

3 5

f

3

3

3 3

f

75

always growing in tensionalways growing in tensionalways growing in tensionalways growing in tension48

50

poco accel. poco accel. poco accel. poco accel.

52

Tempo prino Tempo prino Tempo prino Tempo prino q = 76 = 76 = 76 = 76

3 3 3

3 3

3

f ff f ff

fff 3 5

3 3

3 fff fff

3 5

fff

76

55

58

61

accel. accel. accel. accel.

3

33

5

5

3

3

3

3

(fff)3

(fff)

3 5

f

with surging energy

molto

3 3

77

65

Molto più mosso Molto più mosso Molto più mosso Molto più mosso q = 132 = 132 = 132 = 13269

73

f

moltof

molto

3 37:8

3 3 3 5

fff3

fff

fmolto

fmolto f

molto

3 3 3 3 3 3 3 5

fff 3 3

3 3

5 5 5

l.v.

5 5

5

l.v.

78

75

80

84

89

93

like a cadenza - with a certain freedom

fff sempre

3

3

79

97

Meno Mosso, Maestoso Meno Mosso, Maestoso Meno Mosso, Maestoso Meno Mosso, Maestoso e.= 132.= 132.= 132.= 132

101

Più mosso (Tempo II) Più mosso (Tempo II) Più mosso (Tempo II) Più mosso (Tempo II) e. = 176 = 176 = 176 = 176

104

Meno Mosso Meno Mosso Meno Mosso Meno Mosso e.= 132.= 132.= 132.= 132

107

sub. f

molto cresc.

5

fff

D§ and Db reminders are not used in these bars to avoid clutter

5

3

80

110

113

117

fff

3

fff 3

fff

35

3 3

fff

3

3

3 3 5 3

3

5

3

3

3

81

Lontano Lontano Lontano Lontano q = 48 = 48 = 48 = 48

XV. This the Way Birds Descend

Piano

5

10

14

pp

*

(non tr.)

poignantly

(l.v.) L.H. piacere

3 3 3 3

*bar 4 etc.:To avoid fussiness the trilled note is tied, it resuming as soon as the melody note has been struck and 'rung' a little, in the manner of Debussy etc.

** bar 14: the melody ties are 'aural'. However, there should be a clear sense of line. Phrase marks/slurs are not indicated for the rapid broken chord inner parts

to avoid pointless clutter - these follow the melody phrasing. The effect is intended is of a gentle hovering developing from the trills and not something over articulated.

82

15

16

17

18

poco seriosopoco seriosopoco seriosopoco serioso19

3 3 3 3

3 3 3 3

mf

3 3 3 3

33

p

83

20

22

25

26

27

pp

3

pp 3 3 3

3 3

84

più appassionatopiù appassionatopiù appassionatopiù appassionato28

29

30

31

32

mp

3

3 3 3 3

3 3 3

3

mf 3 3 3

5

[C#]

f

ten.

3 3 3 3

molto

3 3

85

33

34

35

36

37

3 3 3 3

mp

mf

3 33 3

(trem.)

pp

3 3 3

3 3

86

39 rit. rit. rit. rit.

15 12

lontano

3

87