People From Ukraine

"To win in a battle without compromises is always nicer."

"I'd love to visit space, to see how our beautiful planet looks from there. I think every man has such a dream, but you'd need years of hard working for that."

"I told Robben that Ukraine will play Holland in the Euro-2012 final, and that they don't stand a chance"

"I am often being asked about Petersburg and its fans. I always say, those are open people that love their city, their team and try to show it. I am glad there is such a city, there is such a team and such people, that support that team. In Munich they are all... German! What else can I say? It's as if they come to the theater, everyone are sitting quietly."

""Once I promised the fans that, if I have an opportunity, I will come back to Peterburg. That's what I did. Though I had enough other offers.", Tymoschuk talking after the return to Zenit, 2013."

""It's hard for me to talk about the events, which happened before my arrival, I didn't take part in them, but I know, the atmosphere in the club can be better. I think, each of us has to understand, that we as a team, as one unit need to reach results.", Tymoschuk about the conflicts which started in Zenit at the time he was absent,"

"Zenit was always in my heart. That's where I won my first European title. When I left Saint Petersburg in 2009, the fans followed me to the airport, and I promised, I will return to Russia."

""Find in yourself the strength and wisdom to show love and care to everyone, near you, regardless of the region they live in, ethnicity or religion. Be wise and don't be fooled by provocation, be united under the idea of brotherhood, unity and love to the Ukraine! Russians, Ukrainians and all the other Slavic people, are historically brother nations. A brother can't go against his brother, it's a curse and grief. There is a force stronger than weapons in this world, it is love.", Tymoschuk about the 2014 political crisis in Ukraine and the Russo-Ukrainian war, 2014."

"We are playing for different fans, we are united by our love to football. Ukraine is diverse, Ukraine is united - Kiev, Donetsk, Dniepropetrovsk, Kharkov, Odessa, Sevastopol, Lutsk... all of Ukraine. Lets say "stop!" to violence. Lets be united, in what we love - we love Ukraine, Tymoschuk talking about the political crisis in Ukraine following the Euromaidan events,"

""He talks to the players. He is like a bridge between the manager and the players. Anatoly used to play here, many remember him. He keeps us on our toes," Nicolas Lombaerts on Tymoschuk's role as an assistant, 2017."

""A legend, I'm very lucky to have had the chance to play with such a wonderful footballer and person. Thank's for everything!", Andrey Yarmolenko upon Tymoschuk's retirement from the national team, 2016."

"Everybody treated my nicely, Arshavin and Tymoshchuk were helping, especially Tymoshchuk. Write it down, Tymoshchuk - is a good guy!", Maximillian Pronichev about his adaptation in Zenit, 2014."

""In Krasnodar, when [Tymoschuk] was coming in as a substitute, the Ptersburg fans meet him with loud cheering of his surname, while the local public was applauding, even though Tymoschuk - is a rival. Tymoschuk is being treated different [that Arshavin], because he knows how to behave himself, he speaks to journalists in the mixt-zone, is ready to speak to fans.", German Zozin about the respect Tymoschuk has from Zenit fans, 2013."

""Trust me, I know Tymoschuk for a long time, with his attitude to football he'll be in demand for a long time", Andriy Pyatov, Shakhtar goalkeeper, 2013."

""Luciano Spaletti was interested in Tymoschuk and the option to bring him back for a long time. The coach, obviously, needs a person, that can stop the "cold war" between the Russian and foreign players in the team. A person, that no one will dare to interrupt in the dressing room and who will be respected by all", Gleb Chernavskiy on the return of Tymoschuk to Zenit, 2013."

""Tymoschuk can bench any starting line-up player from Zenit! Don't forget, Anatoly is a leader by character. ANd a professional, which is a rare.", Leonid Tkachenko, 2013."

""The arrival of Anatoly can bring balance not only to the game, but also to the team atmosphere. In all the teams, where Tymoschuk played, he was respected by partners, team management, fans.", Vyacheslav Grozny about the role tymoschuk will play in Zenit, 2013."

""Tymoschuk, is a leader by nature, I see the move as positive. Lately we saw in Zenit some conflict, there was no shepherd in the team. Now the herd has a shepherd. He can stop the conflicts and the team will concentrate on football.", Alexei Safonov commenting on the role Tymoschuk will play in Zenit, 2013."

""When Tymoschuk moved to Zenit, he openly expressed dissatisfaction about, how the players act in defense. The Ukrainian became a living school-book for the young, especially Igor Denisov. Now the situation might be similar, to the one, when Tymoschuk came for the first time. By example he can show, that you can not pay attention on some things, that can disturb a professional from playing football.", Sergei Vedeneyev about the return of Tymoschuk to Zenit, 2013."

""Four years ago he was the captain and he totally proved himself in this position, so he should be the captain again. The main thing for "Zenit" - to break the trio Shirokov - Denisov - Kerzhakov, all the conflicts in the team start with them. Tymoschuk can unite the team, but for that he needs to always play and be the captain.", Alexander Bubnov commenting on Tymoschuk returning to Zenit, 2013."

""Tymoschuk is a great team player. He's really important for us, and in situation, when three players are disqualified, his experience and ability to to play in different positions is really useful for us", Jupp Heynckes, 2012."

""For me the main job - not to let goals in. As a result, I love partners who have he same job. Anatoliy - is quite an aggressive footballer, but it's a smart aggression. He knows perfectly, when to choose the right position, to stop the attack of the opponent, and when to use such a move, like taking the ball harshly. No doubt, Tymoschuk is doing a great in Bayern!", Manuel Neuer, 2012."

""The most professional player, of those I ever worked with - Tymoscuk", Dick Advocaat, 2009."

""From Zenit I would be glad to play in the same team with Tymoschuk", Antonio Di Natale, 2009."

""He helped me with everything... Before I received a car, he came everyday to take me to practice and then returned me... Any young player could count on his help and support... I have never met a more serious attitude towards football than Tymoschuk's", Bohdan Shust, 2007, about their time together in Shakhtar Donetsk."

""About Tymoschuk I can say only good things, and not only the player but also the person. Tymoschuk - is a professional from head to toes. I never had complaints to him about discipline. While Tymoschuk and I are at the club, he will be the captain of Zenit", Dick Advocaat, 2007."

"Prokofiev plays simply, clearly, and sensibly. Calmly, but without coldness of an over-confident virtuoso, brilliantly, but without showing off his marvelous technique...."

"What is striking in Prokofiev’s playing is the outstandingly convincing expression and uncommon rhythmic plasticity.... One should especially note a very original use of accents. There is an endless range of them: from hardly audible and scarcely noticeable pushes to pricks and passing by stresses to temperamental and powerful strokes. The accent in Prokof iev’s performance becomes the most valuable shaping element, bringing sharpness, capriciousness, and a special dry spark to his playing. Regular metric stresses disappear behind rhythmically refined and dynamically rich accents. This makes the phrasing especially clear and intensely vital. . . . [Prokofiev’s] reserve does not imply dryness or indifference: Prokofiev knows how to control his emotions, but does not shy away from the touch ing, gentle lyricism. He is not interested in pompous pathos. He found something better: simplicity and naturalness...."

"Within the vast, virtually limitless piano repertoire, the piano sonatas of Sergei Prokofiev occupy a special place. Apart from Alexander Scriabin early in the century, Prokofiev was the only major twentieth-century composer to pay such consistent attention to the form, … They are a constant presence in concert programs and are considered an indispensable part of the repertoire by almost every serious concert pianist."

"I remember being struck by his way of playing virtually without any pedal. And his manner was so polished."

"Mr. Prokofiev's pieces have been contributions not to the art of music, but to national pathology and pharmacopoeia. We do not refer particularly to the pianoforte solos composed and played by Mr. Prokofiev, for they, we are sure, invite their own damnation, because there is nothing in them to hold attention.They pursue no aesthetic purpose, strive for no recognizable ideal, proclaim no means for increasing the expressive potency of music. They are simply perverse. They die the death of abortions."

"In my view, the composer, just as the poet, the sculptor or the painter, is in duty bound to serve Man, the people. He must beautify human life and defend it. He must be a citizen first and foremost, so that his art might consciously extol human life and lead man to a radiant future. Such is the immutable code of art as I see it."

"The time is past when music was written for a handful of aesthetes. Today vast crowds of people have come face to face with serious music and are waiting with eager impatience. Composers, take heed of this…But this does not mean that you must pander to this audience. Pandering always has an element of insincerity about it and nothing good ever came of that."

"It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony."

"The first was the classical line, which could be traced back to my early childhood and the Beethoven sonatas I heard my mother play. This line takes sometimes a neo-classical form (sonatas, concertos), sometimes imitates the 18th century classics (gavottes, the Classical symphony, partly the Sinfonietta). The second line, the modern trend, begins with that meeting with Taneyev when he reproached me for the “crudeness” of my harmonies. At first this took the form of a search for my own harmonic language, developing later into a search for a language in which to express powerful emotions (The Phantom, Despair, Diabolical Suggestion, Sarcasms, Scythian Suite, a few of the songs, op. 23, The Gambler, Seven, They Were Seven, the Quintet and the Second Symphony). Although this line covers harmonic language mainly, it also includes new departures in melody, orchestration and drama. The third line is toccata or the “motor” line traceable perhaps to Schumann’s Toccata which made such a powerful impression on me when I first heard it (Etudes, op. 2, Toccata, op. 11, Scherzo, op. 12, the Scherzo of the Second Concerto, the Toccata in the Fifth Concerto, and also the repetitive intensity of the melodic figures in the Scythian Suite, Pas d’acier[The Age of Steel], or passages in the Third Concerto). This line is perhaps the least important. The fourth line is lyrical; it appears first as a thoughtful and meditative mood, not always associated with the melody, or, at any rate, with the long melody (The Fairy-tale, op. 3, Dreams, Autumnal Sketch[Osenneye], Songs, op. 9, The Legend, op. 12), sometimes partly contained in the long melody (choruses on Balmont texts, beginning of the First Violin Concerto, songs to Akhmatova’s poems, Old Granny’s Tales[Tales of an Old Grandmother]). This line was not noticed until much later. For a long time I was given no credit for any lyrical gift whatsoever, and for want of encouragement it developed slowly. But as time went on I gave more and more attention to this aspect of my work. I should like to limit myself to these four “lines,” and to regard the fifth, “grotesque” line which some wish to ascribe to me, as simply a deviation from the other lines. In any case I strenuously object to the very word “grotesque” which has become hackneyed to the point of nausea. As a matter of fact the use of the French word “grotesque” in this sense is a distortion of the meaning. I would prefer my music to be described as “Scherzo-ish” in quality, or else by three words describing the various degrees of the Scherzo—whimsicality, laughter, mockery."

"My chief virtue (or if you like, defect) has been a tireless lifelong search for an original, individual musical idiom. I detest imitation, I detest hackneyed devices."

"This is my best work, but only because The Flaming Angel is my greatest."

"Formalism is music that people don’t understand at first hearing."

"Many pianists got interested in his music only after they heard the composer’s performance—such as Borovsky, Horowitz, Gieseking, Rubinstein and many others."

"What struck me about Prokofiev’s playing was its remarkable simplicity. Not a single superfluous gesture, not a single exaggerated expression of emotion, no striving for effect. The composer seemed to be saying, “I refuse to embellish my music in any way. Here it is. You may take it or leave it.” There was a sort of inner purity of purpose behind the whole performance that made an unforgettable impression. He played his Toccata with great inner force (while outwardly appearing perfectly calm and unmoved).... The tempestuous, defiant Prokofiev at [lyrical] moments became as touching as a child. The fact that Prokofiev could be poetic and moving came as a surprise to many."

"Energy, confidence, indomitable will, steel rhythm, powerful tone (some times even hard to bear in a small room), a peculiar “epic quality” that scrupulously avoided any suggestion of over-refinement or intimacy (there is none in his music either), yet withal a remarkable ability to convey true lyricism, poetry, sadness, reflection, an extraordinary human warmth, and feeling for nature... were... the principal traits of his pianism. His technique was truly phenomenal, impeccable.... He played quite differently at home than on the concert stage; it was as though he stepped on to the stage clothed not only physically but emotionally in formal dress.... Notwithstanding his outspoken contempt for what is known as “temperamental” performances, he had enough temperament to prevent his playing from sounding dry or emasculated. True, at times he played with such reserve that his performance amounted to a mere exposition; here is my material, he seemed to be saying, understand it and feel it as you please.... The ease (the result of confidence!) with which he tackled some of the most breathtaking passages was truly amazing; he did indeed seem to be “playing” in the literal, almost “sporty” sense of the word (no wonder his enemies called him the “football pianist”). The remarkable clarity and preciseness of the entire musical texture was based on supreme mastery of all the necessary technical media...."

"We encountered a pianist who played not only with the incredible will and rhythmic energy, but also with warmth, poetical finesse, and the ability to carry a melodic line flexibly and gently.... Those who think, according to an obscure tradition, that Prokofiev played in an angular, dry way, with incessant accents thrown around here and there, are mistaken. No! His playing was poetic, childishly innocent, astonishingly pure and modest."

"[Prokofiev] played the piano with great ease and confidence, although his technique left much to be desired. He played carelessly and he did not hold his hands properly on the keyboard. His long fingers seemed very clumsy. Sometimes he managed rather diªcult passages with... facility but at other times he could not play a simple scale or an ordinary arpeggio.... Seryozha’s chief trouble was the incorrect hand position. Technically his playing was careless and inaccurate, his phrasing was poor and he paid little attention to detail.... I must say that he was rather obstinate."

"Melodic line is an important structural element. It determines the direction and character of the musical motion and gives... musical shape to the rhythmically organized texture. Because of this, Prokofiev’s playing has a beautiful singing quality, without ever being sweet. Because of this, each piece in his performance has an uncommon finish and complete ness. From the beginning till the end, it is perceived as a purposeful un folding of the material and as a dynamically intensive development of musical ideas."

"The fact that psychology postulates an external material world and studies it in so far as it comes to be reflected in consciousness, points to another postulate which psychology must assume in addition, namely, the existence of an inner world consciousness."

"Not purpose but chance is at the heart of mental life."

"The man of genius whether as artist or thinker requires a mass of accidental variations to select from and a rigidly selective process of attention."

"The psycho-physiological hypothesis is both inductively and deductively the sine qua non of the science of psychology."

"Psychology is the science of psychic states both as to content and form, regarded from an objective standpoint, and brought in relation to the living corporeal individual."

"Science is the description of phenomena and the formulation of their relations."