After that we returned to the class, where Skorunsky continued to accompany and Klimov to pick holes in everything. Gabel sat near by. The scene in question was the one by the canal in which Herman sings of seeing the Countess's ghost. Skorunsky simply could not work out the rhythm, contenting himself with a vague tremolo. I went over and gave him the beat so that he could see it. Gabel rushed over as well and started playing the notes on his back and then on the keyboard, getting frightfully excited and getting it wrong himself. I stretched my arm round Skorunsky's shoulder and played two bars with mathematical precision. Gabel shrieked joyfully, 'Yes! That's it! Of course, just like that!' Skorunsky, much embarrassed, tried to strum something, but still could not manage it. I went back to my seat where Umnenkaya whispered to me, 'Foo, how shameful to be so bad!' I was delighted to have made such a good impression on her and treasured her words.