Between 1981 and 1984, the author of the article was a student at the Leningrad Conservatory, under the supervision of Arkady Klimovitsky. Their communication became especially dynamic after 2010, when in 2022, the collection of Klimovitsky’s articles titled “The Hearing of a Composer: The Memory of Culture” (St. Petersburg: Novikov Publishing House) was published. Stephan Naumovich served as the scientific editor for this publication. He shared not only memories of his student days (for example, about working on Tchaikovsky’s “Mozartiana” under Klimovitsky’s guidance), but also observed Klimovitsky’s scientific methods, such as his unique approach to seeing and hearing music as a dialogue partner, and his long-term research into collaborations between composers, which seemed to reflect his favorite idea of music as a unified concept. And last, but not least, Arkady Klimovitsky taught us how to choose a rightful moral position by showing himself as an example. This was, after all, his constant attention to forgotten and underestimated musicians, such as Mikhail Azanchevsky. The scientist emphasized that we can follow the example of Azan­chevski, as well as other true intellectuals—teachers and colleagues of Klimovitzky—in order to change ourselves, at least to some extent.