Official documents, letters about Victor Lvovich Makarov
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Letter №1

Victor Makarov. Chameleon. A game with prizes. Paedophile by the book.

Anyone who remembers Professor Victor Makarov can say that he was, so to speak, an emotional person. By his nature - often fiery and energetic, hard working and demanding. It is due to these qualities that he was able to achieve success in his profession – pedagogy. He was renowned as an outstanding piano teacher.

He seemed this way to everyone, because he knew how to present himself.

But unfortunately not everyone knows another “quality” of his. Makarov is a very sick man: he is a paedophile. He was always very fond of male persons starting from pre-teen ages.

By the way many of us have experienced his sickness. Let’s try to remember a common situation:
You are walking to the room No.34 (where Makarov taught in Kharkov special secondary music school), being sure to find him there. You are sure because either saw him enter the room or someone told you a minute ago that he is in his room. In any case you are heading towards the room. But when you get to the door you find it locked. How is it possible? He was there 30 seconds ago! He usually teaches at this time…
But inside the room there is a grave silence. Even if you put your ear to the door. Grave silence. Or not?.. What? What was that? Did someone make a move inside? No, can’t be… There’s nobody inside. Why would he lock the door anyway?
So you stand outside the room for another minute or two and then walk away towards the Tchaikovsky statue to wait for him there or walk downstairs to see him walking back to his room. Unable to find him anywhere in the school you walk back to the room but this time you find it slightly opened and there is music coming out of the room. “Piano lesson continues”.
And you start wondering: This is strange. When and how was he able to return no his room? And more strangely – when did the student get there? Maybe they both came downstairs in another wing of the school?
But actually everything is much simpler: Makarov with the student has never left the room. He was there when you knocked on the locked door. He simply told the student to “shut up” and stood still himself. He simply outwaited you. But when he heard your footsteps as you were walking away to the Tchaikovsky statue (his ear was also on the door!), he simply unlocked the door. The student after a short pause started playing the piano. And so the “lesson was continuing”.
But behind the locked door inside the room in silence there were the awful acts of paedophilia.
And the degree of awfulness directly related to how much time Makarov had to bring to life another one of his sick fantasies.

Obiously this was a game for Makarov. A game with prizes. The prizes were boys in their early teens that he often won.
It really does defy all logic: such outstanding piano teacher that trained so many winners of piano competitions… - a paedophile!
So, when did he find the time to abuse boys? Because it does seem like this horror was happening all along right under everyone’s nose! And not a single person noticed anything! Or maybe they didn’t want to notice?..
Let’s see: how much time does a paedophile need to lock the door of find himself alone with a teen-boy, hold him from behind with one arm and feel his genitals with another? That can easily be done in 20-30 seconds.
So no matter what anyone says, but fact is a fact: everyone without exceptions has 30 seconds of free time.
To paint a brighter picture it is enough to say that Makarov often taught during the school holidays, knowing very well that there is noone in the school apart from an old key-lady at the entrance. It meant that he had a lot of time for fantasies and so the degree of his awfulness often grew up to group sex acts.
So one can say that his “prizes” were small and big.

The children (boys) that came to Makarov’s piano class went through an extensive time of observations: how responsive the boy is, whether he is well brought up, whether the boy is talented, and – obviously – if the boy looked well enough for Makarov to like him. Makarov did not “choose” everyone.
But the ones that were “chosen” went through a lot of hard piano training and a lot of time was dedicated to their talents. In other words “the chosen ones” had a lot more professional attention from Makarov. They had lots more lessons.
After a while Makarov started to demand a lot of professional responsibility from the student: “you must play brilliantly!” – simple and strict.
Ofcourse any 10 year old responsive and well brought up child will listen to that. For one simple reason that rebelling against the teacher is not the way he was brought up! (You must respect and listen to your teachers!!!)
At the same time the boy was experiensing additional pressure from Makarov himself. This pressure was developing a very simple fear in the child. Fear of a bad lesson and therefore - fear of Makarov.
Noone ever knew if their lesson would be good or bad. Noon knew if Makarov would scream at you in the lesson or hit you or not. No matter how you prepare for a lesson – you cannot be sure. Makarov was totally unpredictable in lessons.

The reader is reminded that Makarov knew how to present himself as an impulsive, hard working, demanding highest quality teacher. So all his screaming, stomping feet and running around the school with music in his hands after some poor student, was accepted generally by everyone as a usual behaviour of a “great” piano teacher.

The student’s fear level was particularly high when he was preparing for concerts or piano competitions. At times like these Makarov never seised an opportunity to put more pressure on the student by embarrassing him in front of his classmates or others. When the student was playing a piece in front of other students Makarov often called him “lazy”, “great underachiever” and other colourful names. And after a scream “everyone get out of the room!”, being alone with Makarov student often experienced being hit and had to listen to Makarov swearing at him.

The student constantly felt some kind of guilt: what have I done wrong? I need to learn and practise well with this piece for next lesson…
How can a 13 year old boy not be afraid of such great authority as Makarov that he greatly resprcts?

The pressure often had a “guilt trip” character, when Makarov said to his student: “You play like the last piece of shit. My students don’t play like that! With that level of playing you are going to live like shit for the rest of your life! You are presenting my name when you go on the stage, don’t you get it you fool?”
Usually there was hitting after mad moments like this. With hands, feet… anything he could get a hold of.

But sometimes instead of hitting the scared to death student Makarov all over sudden started hugging and kissing him. Being scared the student (12-13 year old) thought: “This is better that him hitting me…”
Obviously the mind of a youngster is incapable of fully understanding of what exactly is happening to him. Scared of a teacher, he is happy that he is not getting hit! “Because if he hits me, I’ll need to explain to my parents at home why I prepared so badly for the lesson (there may be a scandal at home as well!…) because I am such a bad and irresponsible student” – something that Makarov imposed on the student!!!
Makarov was brain-washing his students minds using a german concentration camp formula:

Tell a person that they are bad once – they will not believe you.
Tell a person that they are bad 10.000 times – they will believe you.

This formula performed miracles on children…


“It’s better to let hem do what he wants – it’s quieter and not painful this way. He’s not going to say anything and I won’t say anything. Otherwise there will be a scandal… Oh my god, there would be such a scandal… everyone in the whole school will call me “gay boy”…

Meantime Makarov stopped kissing the student and unzipped the fly…
But let’s not run ahead too much. The above situation is a result of “preparation”. Without this preparation such situations were impossible.

Preparation

The preparation process was a very long one and started almost at the very beginning, from first piano lessons – from observations. This subject was touched a little above and now we’ll look at it in more detail.
Makarov was starting by studying a student’s psychology. This would help him being sure about whether the student would or wouldn’t talk later. By the way Makarov – in his own words - actually studied psychology for 15 years, but apparently only for pedagogy.

The student was successfully beginning his piano career (vast majority of beginner pianists are successful).
At the beginning everything is going very well:
The parents are very happy that their child is doing so well, Makarov becomes a great man that gives their child a ticket to the “bright future of music”. The child plays in concerts, later – with an orchestra, he starts to gain recognition, even the parents gain respect among their friends. In parent-teacher relations Makarov is a great self-presenter: simple and business-like with fathers, charming with mothers – a real professional. He is on a good account in everyone’s eyes.

The young student having just started his professional career also starts to feel special. And for that he respects his teacher more and more.

He even said to his student sometimes: “I highly respect you as a professional”. Now, to hear something like that from an outstanding teacher is a very rare and special “treat” for a 12-year old piano student. He knows very well that such words hear only the best of the students.

This was the way Makarov built good relationships with both student and his parents.

This is how Makarov was “building” his own social image for which he was recognised as a good man and teacher.

But having waited for the right time to come Makarov began the next stage in his preparation:


Suppression of the developing (in early stages) individuality in the student.


This easily achievable process can be introduced by constantly increasing pressure for the student or putting guilt on him for something. This process sometimes resulted in student becoming a complete Makarov’s puppet, whose strings were pulled to the “puppeteer’s fancy”.

Reader is reminded that Makarov was totally unpredictable in the time of piano lessons; therefore he had complete freedom of when to use the “pressure” and the “guilt”.

The student didn’t have the opportunity to express his thoughts – Makarov wouldn’t miss his opportunity to apply more psychological pressure by calling the student names like: idiot, stupid, underachiever etc. And after some time of hearing these atrocities about him, the student closes down and starts to actually believe that he is not clever enough… He actually believes that he is not smart enough to express his own thoughts. Only Makarov was very smart. All students without any exceptions had to listen ti him. He was the god and his word – was the law.

Some time passes. The student begins to mature. He works hard, plays concerts. Makarov is becoming increasingly unhappy with his student’s playing. It will never be good enough again.
As mentioned before noone ever knew if the lesson would be good or not. Every time students would ask students that have just walked out of the room: “How is he today? Is he in a good mood?”

As the 12-year old student walked in the room and have played pieces Makarov suddenly says:
“You need to start playing like a real man and not like a little boy. You know I still respect you as a professional, even though you don’t deserve it. I also respect you as a friend… Yes, as a friend.”
The student, confused, thinks: “Is he going to hit me or scream at me? What is he on about? A friend? That would be cool…”
But here is Makarov’s question:
-Are you dating any girls already? – Makarov continues.
-No…-replies the student with the red face.
-Come on, you can’t tell me you don’t even like some girl! You do like someone, don’t you? – persisted Makarov.
-Well, yes. I like one… - almost silently replied the student.
-You obviously understand that you can’t talk about my question to anyone, don’t you? – asked Makarov.
-Yes, I understand… - said the student, not understanding anything at all.
-You must be able to keep secrets, - continued Makarov, - it is the one big secret of all great pianists. But we will talk about this later. You still need to do a lot of work to fix your second-rate playing. Go and practise.

This was the end of the very first attempts of Makarov gaining his student’s trust. This was both the attempt and a test of a student: if he will not talk – great, can continue; if he will say something to someone – no big deal, there was nothing illegal and it’s easy to suppress by making a fool out of the student. Who would believe a stupid 12-year old boy?
But for now it’s necessary to give him some time and to observe him for a while.

Some more time goes by.
A month later the question about a girl is asked again but this time Makarov goes in more detail:
-Have you kissed her yet?
-Yes…
-Did you like it?
-Yes…

And again it is the test. And again – nothing illegal…

And so, little by little, greatly calculating, Makarov slowly finds out more and more of intimate details of the student’s private life. The student, due to his complete lack of life experience, continues to “walk” Makarov through his private life. Because Makarov is his friend now!

More time goes by. Now Makarov is discussing a sexual intercourse between a man and a woman: Makarov is teaching his student for future. And the student believes him.

It is important to note that in between these questions there always was a good amount of time. It is in these times that Makarov was pressurising the poor student more that usual: there were many bad lessons. But there were also good ones – to restore “the balance”. But for the scared student there was no balance. This was a time of increased fear of Makarov and therefore – increased obedience. At such times the student couldn’t think about a question about a girl, he was constantly scared about his “bad preparation for the lesson”.
The weird “girl questions” were asked in “good lessons”.

And having waited long enough and studied his student long enough Makarov decides himself physically to prepare his student for future sex life with women.
At the start there is a long talk: “Don’t be afraid” , “You will like it” etc. If the talk doesn’t work, Makarov would use physical force.

Everything starts with innocent kisses.

Then – more time passes by without any of Makarov’s sexual advances. This gives the student a chance to block out or to get distracted from them. But instead there was a lot of “bad lesson preparation” pressure on the student.

Then – a good lesson. Again kisses. But now Makarov slowly migrates from just kissing to some more sexually exotic things.

Then – a time frame. Again everything is bad in piano lessons.

And then, from ‘exotic’ things Makarov slowly started having blatant sex with his student. He didn’t need to test his student any more. Now he will definitely not talk.
The details of the blatant sex acts we will leave to the reader to imagine – they will not be wrong.

This is the way Makarov “prepared” his chosen students for his sick fantasies.

And the parents, that entrusted their child to Makarov, were in the dark all this time and knew nothing about the “secret” between their boy and Makarov. They didn’t even have a reason to suspect anything. Everything on the surface was good: their teenager son plays concerts, he was different from his friends, some of whom ended up in jail.
But their child kept a secret, while he continued a promising piano student of Victor Makarov. Even the student thought that this was good and normal!

In 1998, Makarov migrated to Australia with his family and a few of his “chosen” students. He left many just like that back in the Ukraine.
At this time he is in one of Australian jails.

Conclusion:
Some simple words about his penis…
Makarov is left-handed; therefore he liked to masturbate himself with his left hand. As a result of this his penis is bent to the left.
About masturbation method we’ll add that he liked to grip his penis from above (with thumb at the base and the little finger at the head of the penis) and not from below.
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Victor Makarov piano pianist professor

for e-mail: s.ivanov200@mail.ru