The meaning of Filipov Tertiy Ivanovich in a brief biographical encyclopedia. A major official with a broad soul See what "T. I. Filippov" is. in other dictionaries

For excavation work 15.12.2023

For excavation work

Tertiy Ivanovich Filippov. Daria Mikhailovna Leonova. Modest Petrovich Mussorgsky

In the 19th century in St. Petersburg, talented musicians grouped around the prominent public figure T.I. Filippov, among whom were his fellow countrymen from the Tver province: singer D.M. Leonova, whose father was a native of the Ostashkovsky district of the Tver province, and composer M.P. Mussorgsky.

T.I. Filippov occupied a high position in the bureaucratic circles of St. Petersburg close to the emperor: state controller, senator, official of special assignments in the department of the Synod, honorary member of the St. Petersburg Academy of Sciences, initiator of the organization, then chairman of the Song Commission at the Imperial Russian Geographical Society, collector and performer folk songs, publicist, writer. In his youth, T. Filippov came to Tver from Rzhev, where he was born, heard and fell in love with folk songs. After graduating from the Tver gymnasium, the talented Filippov entered Moscow University at the Faculty of History and Philology and graduated with a candidate's degree.

Already at that time, T. I. Filippov became famous in Moscow as a singer of rare talent, one of the most brilliant performers of folk songs. His singing could be heard in the most famous places and even in taverns. In the 40s and 50s of the 19th century, taverns in Moscow replaced both reading rooms and clubs for young people. Tavern owners competed with each other to purchase new newspapers, magazines, and books. In 1846, Pechkin’s “Iron Tavern” took precedence in this regard. Here young T.I. Filippov met the aspiring playwright A.N. Ostrovsky. They were united by an understanding of the meaning of Russian folk songs and a love for it. According to the memoirs of A.I. Faresov, in the performance of songs T.I. Filippov showed “both the Russian folk character and the peculiarities of the Russian soul in an attractive, enchanting form, captivated listeners into a half-forgotten or even completely unknown world, awakened new ones, or at least for a long time dormant feelings; a folk song, artistically performed by Filippov, was repeatedly heard in such halls in which its singing in general, and especially by a person of an educated society, seemed to be an extraordinary phenomenon. Both the hosts and the guests each time admired both the words of the song and the tune; They made a very amazing impression on everyone. The servants, listening from behind the doors, came into indescribable delight and often cried, as the sextons always cried when Filippov

sang in student and friendly circles in the then famous student tavern "Britain", located next to the University."

In Moscow, Filippov was engaged in a variety of activities: he taught literature at a Moscow gymnasium, published in Moscow magazines, and was one of the editors of the popular magazine “Moskvityanin” at that time.

Alexander Alekseevich Olenin, whose great-grandfather was Alexey Nikolaevich Olenin, son-in-law of Mark Fedorovich Poltoratsky, president of the Academy of Arts, wrote in his memoirs about M.A. Balakirev: “M.A. Balakirev also told a lot about his friend T.I. Filippov, and everything seemed to from the words of Filippov himself. The latter came almost from the peasants of the Tver province, but thanks to his talents he went far. Being a tutor in the house of the famous Slavophile Pogodin, he captivated everyone there with his performance of Russian songs. The entire Slavophile brethren, who gathered at Pogodin’s, simply listened to him And so Filippov decided to woo Pogodin's daughter for himself, finding this matter beneficial for himself in all respects. For this purpose, he went to Pogodin and, entering him, made the following speech (in Church Slavonic, as was customary for Pogodin in ceremonial cases): “O pious elder, I want to marry your daughter.” Pogodin allegedly remarked to this, without raising his eyes from the book: “Do you have gold?” Terty Filippov answered: “I don’t have gold, but I have a human soul.” , which is dearer than gold,” to which Pogodin followed with a short resolution: “Get out!” Then Tertius exclaimed in grief: “Oh, elder lover of money, why did you love gold more than the human soul?” This was followed by Pogodin’s answer: “Not gold , young man, I love, and Caesar’s image is on it,” and then Pogodin, already pointing to the door, added more insistently: “Get out!” Tertius was confused and rushed headlong home...”

After arriving in St. Petersburg, Filippov took high government positions, but despite this, he remained a modest and sympathetic person: “Filippov was a very important dignitary at that time, and I expected to see him surrounded by ministerial pomp... Tertiy Ivanovich received me so cordially and It's just that it seemed to me that we were old acquaintances. He was a very remarkable man, who came from the common people - and rose to the highest position in the state thanks only to his abilities; he retained something of the indigenous people both in his address and in his appearance. Tall, stocky, with a gray trimmed beard and hair cut into brackets, he was the purest Russian folk type. There was nothing bureaucratic about him... He was a passionate admirer of everything Russian folk and especially Russian song. He retained the gift of singing until extreme old age... My first visit to him coincided with the moment when he was thinking about what exactly should be done to preserve Russian song" (A.A. Olenin).

In 1884, on Filippov’s initiative, a song commission was created at the Imperial Russian Geographical Society, with T.I. Filippov appointed chairman. “Thanks to his efforts, the geographical society organized a number of expeditions consisting of the most competent people at that time (Lyapunov, Dyutsh, Istomin) to record folk songs. The results of these expeditions are obvious to everyone” (A.A. Olenin).

T.I. Filippov spoke about his attitude to folk songs: “I entered adolescence with a rich store of songs and from that time ... I never stopped thinking about preserving ... the treasures carried by my memory.” Filippov hoped to meet a professional musician who would record folk songs from his voice: “I had to make sure that such a seemingly completely simple intention, how to translate the melodies of Russian songs into notes in accordance with their true nature, was not so easy to execute

easily. The peculiarities of our folk tunes are such that they are not given to everyone." Apparently, Filippov had in mind the recordings of the composer Vilboa. In I860, Vilboa published a collection of "100 Russian Songs", of which the composer recorded 25 songs from Filippov. Tertiy Ivanovich was dissatisfied these versions of the songs. Then Filippov turned to M.P. Mussorgsky with the same request. In 1880, M.P. Mussorgsky recorded five songs from Filippov’s voice. The composer made their arrangements for a four-voice male choir:

1. “You rise, rise, red sun” (Collection of choirs “Duma Circle”. M., 1882.1 issue).

2. “At the gate, the priest’s gate” (Ibid.).

3. “It’s your will, my will” (Arrangement for two solo tenors and a male choir) (Collection of choirs “Duma Circle”. M., 1884, II edition).

4. “Tell me, dear girl” (Collection of choirs “Duma Circle”. M., 1884. III edition).

5. “Floats, floats up” (not finished).

Later, Filippov wrote: “Finally, with the benevolent mediation of M.A. Balakirev, the fate of my tunes was given into the hands of his kindred spirit artist N.A. Rimsky-Korsakov, who put in a lot of valuable time and conscientious efforts, and to whom I bring deep and sincere gratitude for the fulfillment of a long-standing and never-abandoning dream of seeing the melodies that were ever stored in my memory published in a form fully worthy of their artistic significance.”

Here is what N.A. Rimsky-Korsakov wrote about this in “The Chronicle of My Musical Life”: “Since last year, I have become very interested in Russian folk songs: I looked through all kinds of collections, which, except for Balakirev’s wonderful one, I knew little of until then. I had the idea to compile a collection of Russian songs myself. Now I received an offer from T.I. Filippov, a great lover of Russian songs, who once sang them excellently, but is not a musician at all, to record songs known to him from his singing and compose them for him collection with piano accompaniment. This proposal was made by T.I. Filippov to me at the direction of Balakirev. So, T.I. Filippov turned to me with a request to record Russian songs from his singing, which I did in several sessions. He was already very proficient mortal remnants of a voice, as they say, good in the old days, when he, loving Russian songs, got along with their best singers from the common people, adopted songs from them, and sometimes competed with them. The 40 songs I recorded from him were mainly lyrical character... There were relatively few ritual and play songs between them... Having made a recording of Filippov’s songs, the accuracy of which he was pleased with, I harmonized them twice... A collection of Filippov’s songs was published by Jurgenson.”

It is called “40 folk songs collected by T.I. Filippov and harmonized by Rimsky-Korsakov” (M., 1882). Terty Ivanovich wrote the preface to this collection. Here are some conclusions from it: “...our native artists will find rich and varied themes for new creations.” And one more thing: “...by using available means to strive to preserve those monuments of folk

creativity that has not yet been lost and remains in popular circulation."

T.I. Filippov's house in St. Petersburg was one of the centers of musical culture. “Filippov... being the state controller, occupied the luxurious Control mansion on the Moika. Amazing things were told about Filippov at that time. From the Control officials, he managed to create a wonderful choir that performed mainly Russian songs. They assured that if anyone asked to serve with Filippov , then the first question he asked the visitor was: “Do you sing?”

M.A. Balakirev was a participant and leader of the meetings in the hospitable house of Filippov. On November 16, 1886, Balakirev informed Filippov: “Dear Terty Ivanovich! Today I was thinking about your

musical evening and came to the following: is it possible for you to divide it into two times, so as not to confuse two musics that have nothing in common with each other?..”

Due to his high position, Filippov could support musicians in need. This is confirmed by a letter from M.A. Balakirev to V.M. Zhemchuzhnikov:

"Dear friend Vladimir Mikhailovich!

It’s already been 2 years since we have seen each other, and during this time drastic changes have occurred in my destiny: first I had to take up the Free School again with its musical and unprofitable concerts, and now I found myself already the head of the Singing Chapel (Kapella, which was once headed by M.F. Poltoratsky. - M.Sh.) and my determination took place recently, and Filippov is the author and main culprit of this latest event... The free school received one of the halls of the empty house of the Ministry of Internal Affairs for its premises thanks to Filippov , and the concert will very conveniently allow us to acquire furniture and other necessary supplies..."

T.I. Filippov paid great attention to the development of church singing. We can again learn about this from M.A. Balakirev’s letter. He wrote to P.I. Tchaikovsky:

"Dear Pyotr Ilyich!

It turned out that when I invited you to Friday, I completely forgot that that evening I, together with Nikolai Andreevich (Rimsky-Korsakov - M.Sh.) and others, must be at a meeting in Solyanoy Gorodok, where we will talk about church singing "(Balakirev mentioned a meeting of the committee assembled by K. Pobedonostsev and T. Filippov. - M.Sh.). Filippov’s opinion was listened to. He went with reports to Emperors Alexander III, Nicholas II. On musical issues, Balakirev made drafts of reports for Filippov In all his proposals, Balakirev defended the national path of development of Russian music, which T.I. Filippov zealously supported. On March 3, 1895, Balakirev wrote to Filippov:

"Dear Terty Ivanovich!

You wanted to have material for compiling a note regarding the needs of Russian music (apparently, Filippov wanted to present a report to Nicholas II with thoughts on the development of Russian opera. - M.Sh.). At the thought that you include considerations on the opera issue in your report, I am filled with fear for you, because Mr. Vorontsov-Dashkov will never forgive you for invading his area without his not only permission, but also knowledge, despite permission given to you, which it would be better to wait to use...

Sincerely yours, M.A. Balakirev."

Thanks to M.A. Balakirev, T.I. Filippov knew Russian opera well and was familiar with young composers. He had special respect for M.P. Mussorgsky and his original talent. During difficult periods in the composer’s life, Filippov constantly came to his aid.

M.P. Mussorgsky was born in the village of Karevo on the border of the Tver and Pskov provinces, in picturesque and melodious places. Subsequently he wrote: “It was not for nothing that in childhood I loved to listen to peasants and was tempted by their songs.” Since 1849, Mussorgsky lived permanently in St. Petersburg. He graduated from the School of Guards Ensigns, studied music with the famous teacher, concert musician, student of John Field, court pianist Anton Augustovich Gerke. A military career did not attract Mussorgsky; he chose the service of an official. From 1868 to 1880 Mussorgsky served in the Engineering Directorate, Forestry Department and in the Audit Commission of the State Control, headed by T.I. Filippov. Bright personalities played a major role in the development of Mussorgsky as a composer: composer, public figure M.A. Balakirev and critic V.V. Stasov. In musical circles in St. Petersburg, Mussorgsky immediately became known as a gifted pianist: soloist and ensemble player.

"Vladimir Mikhailovich!

I am convinced that music for you is not at all a luxury or a whim... but simply a need... As for me, you can fully count on me playing with you once a week, and if necessary, more often. When you have a piano, you will not need quartets - perhaps occasionally, because together with Mussorgsky we can produce for you in 4 hands all kinds of quartets, symphonies, oratorios, so that you can get acquainted with all the musical literature, having an instrument, and I would really like this. It seems to me that this would not only be pleasant for you, but also useful, and your blues would subside at the first bars of that symphony by Schumann, in which he painted the Cologne Cathedral...”

Mussorgsky the composer was close to the genre of opera, opera on a historical plot. The composer's greatest creation was the folk musical drama "Boris Godunov" (based on A.S. Pushkin and N.M. Karamzin). Mussorgsky was so captivated by the plot that the opera was ready in 14 months. In the summer of 1870, Mussorgsky turned to the directorate of the imperial theaters about the production of “Boris Godunov”: “... I went to Gedeonov: he was strict, but fair, and I was strict, but fair; as a result, they will call me starting on August 15 (? ), but they cannot stage anything new this year" (from a letter from M.P. Mussorgsky to N.A. Rimsky-Korsakov. July 23, 1870).

The official decision of the committee was made on February 10, 1871: “Considered by a committee consisting of Napravnik, the conductor of the opera, Manjan and Betz, the conductor of German and French drama, and the double bassist Giovanni Ferrero, it (Boris Godunov - M.Sh.) was rejected . The novelty and unusualness of the music baffled the venerable committee" (Rimsky-Korsakov).

C. Cui spoke sharply about the composition of the committee: “There should be no doubt that the only member-musician, Mr. Napravnik, sensitive to the modern musical movement ... stood ardently for “Boris”, and the other six members, of which four hardly know and in Russian... they rejected a wonderful Russian opera."

During this difficult period of life, fellow musicians and opera lovers supported Mussorgsky. Stasov wrote: “From the very winter of 1868 until the beginning of 1874, when “Boris” was staged, first excerpts from the opera, and then the entire opera, were performed dozens of times in the circle of the composer’s comrades. Joy, admiration, admiration was universal... Usually Mussorgsky performed everything himself at musical gatherings of his comrades: choirs, recitatives, ensembles, and parts of individuals. His wonderful assistant was Al. Nik. Purgold, she performed all the female parts... and performed with artistry, fire, passion, grace, enthusiasm and playfulness, and most importantly - with simplicity and naturalness, which came close to the incomparable performance of Mussorgsky himself. These samples of "Boris" took place at meetings with L. I. Shestakova, V. F. Purgold, Al. "Tail..."

In his “Autobiographical Note,” Mussorgsky wrote about an important event for himself: “In the family of Privy Councilor Purgold, a great lover of art, with the participation of his nieces A. and N. Purgold, serious and talented performers of music, “Boris Godunov” was performed in front of a huge society "in the presence of the famous Petrov, Platonova, Komissarzhevsky and fellow director (of the imperial theaters) Lukashevich. It was immediately decided on the spot to stage 3 scenes of this opera on stage, although the opera itself was rejected shortly before by the theater management."

On February 5, 1873, Mussorgsky was able to see 3 scenes from the opera “Boris Godunov” on the stage of the Mariinsky Theater. Daria Leonova sang the role of the tavern owner. O. Petrov was in the role of Varlaam. The performance was so wonderful that the audience called Mussorgsky, D. Leonova, O. Petrov several times. "Petersburgskaya Gazeta" wrote on February 8: "The entire theater, from top to bottom, was delighted." D.M. Leonova managed to create an unforgettable everyday image of a broken woman, accustomed to everyday dangers. The “old sinner” wore “a dirty dress, from under one side of which there was a man’s boot, a scarf put on completely crookedly, and hair falling on her face” (“Stock Exchange

Vedomosti", 1874, No. 40). Leonova remarkably imitated the behavior of women similar to the hostess: she coyed in front of Misail, shyly took a sip from the offered glass, “out of habit” wiped her mouth with the edge of her head scarf. Leonova’s performance was such a success that in 1874 At the premiere of "Boris Godunov", singer Abarinova (performer of the role of the Hostess) repeated Leonova's dramatic discoveries.

Reviewers constantly noted the bright dramatic performance of D.M. Leonova on the opera stage. She created a whole gallery of characters, dissimilar and impressive: Vlasyevna in Rimsky-Korsakov’s “The Woman of Pskov,” Spiridonovna in Serov’s “Enemy Power,” Azucena in Verdi’s “Il Trovatore,” Marta in Gounod’s “Faust.” “Leonova created the first Russian Ortrud, which has not yet been surpassed or achieved. With the elasticity of true talent, she applied herself to the requirements of the New Russian School and knew how to captivate with recitative, acting, a rare understanding of costume, spirit, and bold realism” (Voice, 1876. No. 263) .

The performance of the young artists was compared to that of Leonova. Ts. Cui wrote in 1876 in the St. Petersburg Gazette: “Bichurina is a wonderful Solokha, her voice is excellent, she sings and plays smartly, with enthusiasm... she reveals a kind of talent reminiscent of D.M. Leonov.”

D.M. Leonova was born in the city of Vyshny Voloch. to the Tver province. Dasha spent her childhood in the village of Ryzhkovo, Selizharovsky district. Here she heard, remembered and began to sing folk songs. A few years later the family moved to St. Petersburg. Musical abilities, hard work and great desire allowed Leonova to sing on the best opera stages in Russia and Europe. She was a soloist at the Mariinsky Theater in St. Petersburg and the Bolshoi Theater in Moscow. Her contralto was highly appreciated by M.I. Glinka, who devoted many hours to improving the singer’s vocal skills. He said: “Leonova has a vast, sonorous voice... natural musicality, clear intonation, and bright stage talent.” Glinka, a great theater connoisseur, appreciated Leonova’s gift as a dramatic actress. In 1855, the composer wrote to his sister: “Leonova recited Tanya’s last conversation with Onegin to me so deftly that I felt sick.” The same opinion was expressed by singer V.P. Shkafer, who heard Tatyana’s monologue performed by Leonova: “She spoke these verses simply and at the same time touchingly and sincerely, without any actorly pathos or strain, exactly the way they played at that time great actors of the Moscow Maly Theater, inheriting the school of the great Shchepkin." M.I. Glinka dedicated a number of vocal compositions to D.M. Leonova, which Leonova performed with great enthusiasm.

Leonova conducted intensive concert activities in the cities of Russia, Italy, Germany, France, China, Japan, the USA, and Great Britain. Her repertoire included works by Glinka, Dargomyzhsky, Borodin, Serov, Rimsky-Korsakov, Gulak-Artemovsky, Vilboa, Dyutsch and others. For many years, creative friendship connected D.M. Leonova with M.P. Mussorgsky, who spoke with admiration of the famous singer: “Daria Mikhailovna has energy, power, fundamental depth of feelings, everything that is inevitably captivating and riveting... an extraordinary person.” Leonova certainly included works by Mussorgsky in her performance programs. M. Ivanov, who was impressed by the singer’s concert, wrote in 1879 in the newspaper “Novoye Vremya”: “Leonova’s talent has not lost either vitality or versatility. Her drama is still grandiose, her comedy in folk scenes is still fascinating, everything her lyricism also captivates listeners. It is difficult to better convey the excellent ballad from “Rogneda”, with more warmth the romances of Glinka, Dargomyzhsky and Balakirev, with the brighter comedy of Mussorgsky’s “Gopak”, than Leonova did. But the crown of her performance, in my opinion, is we must recognize the song of the schismatic from "Khovanshchina", Mussorgsky's new opera. It is impossible to put more shades into it. Starting from deep melancholy to involuntarily breaking through anger towards the traitor and enthusiastic fanaticism, the variety of feelings animating the schismatic was vividly presented to the audience thanks to Leonova's extraordinary expression. Society warmly responded to the artist, who always held high and firmly in her hands the banner of her native art, an artist in whose person we are dealing with one of the outstanding representatives of Russian talent."

In 1879, Leonova decided to make a large concert tour of the southern cities of Russia and Ukraine. Mussorgsky agreed to be her accompanist. The trip began on July 21. Within three

months, Mussorgsky and Leonova gave concerts in Poltava, Odessa, Yalta, Sevastopol, Kerch, Taganrog, Rostov-on-Don, Voronezh, Tambov, Tver, and St. Petersburg. The impressionable Mussorgsky admired nature and his enormous success with the public: “Without any doubt, our artistic journey should and already has the meaning of good service ... to art, to the good Russian people.” Mussorgsky thanked Leonova for her understanding and impeccable performance of his compositions - vocal miniatures: “Orphan”, “Forgotten”, “Gop-hop, hopaka”. The scene of Marfa from his opera “Khovanshchina” performed by Leonova aroused genuine delight in Mussorgsky. On this trip, Mussorgsky's talent as a pianist was revealed again. He played transcriptions, fantasies, and improvised with inspiration. And after stormy concerts he wrote. Then he created his famous musical satire on Goethe's poems, "The Song of Mephistopheles in Auerbach's Cellar about the Flea." He embodied the melody sung by Leonova in the romance “Letter after the Ball.” During the trip, Mussorgsky became different. Concerns and dissatisfaction temporarily receded. Inspired, he wrote a letter to M.I. Glinka’s sister L.I. Shestakova: “... a decisive step that has made a lot in my artistic life is justified: Poltava, Elizavetgrad, Nikolaev, Kherson, Odessa, Yalta, Sevastopol are announced in a real way, with the sounds of creative thoughts of the immortal creator of the Russian musical school, Glinka, and his good associates; for the first time in those places, all the mighty power of that immortal was heard and, I hope, realized, who taught posterity the true, unshakable testament to Russian musical creativity. Glory to Glinka, who showed the path of truth!.. Our repertoire includes, with exceptional advantage, Glinka, Dargomyzhsky, Serov, Balakirev, Cui, Borodin, Rimsky-Korsakov, F. Schubert, Chopin, Liszt, Schumann. You can walk around the world on such levers. And how much is new, enchanting, renewing nature gives! How many new, sometimes very significant, meetings with new people who sense art better than some unrecognized heralds of the All-Russian press! This renewing and refreshing trip was a great education for me. Many years off your shoulders!" Returning to St. Petersburg, Mussorgsky soon again felt loneliness and financial dependence. And again Leonova came to the rescue. In 1880, they again came to Tver, where they gave two concerts in the hall of the Noble Assembly. After brilliant concerts, the newspaper " Tverskoy Vestnik" published a wonderful review.

Mussorgsky spent the summer of 1880 with the family of D.M. Leonova at the dacha in Oranienbaum. His health was deteriorating, but he continued to work on the operas “Khovanshchina” and “Sorochinskaya Fair”. In the fall, D.M. Leonova opened singing courses, and M.P. Mussorgsky agreed to cooperate. He learned parts with aspiring singers, studied music theory, and wrote exercises. On Saturdays, the composer participated in school evenings, which were attended by Stasov, Borodin, N.A. Rimsky-Korsakov and other celebrities of St. Petersburg.

Friends and admirers of Mussorgsky’s talent sought to financially support the composer: “On the initiative of V. Zhemchuzhnikov, they placed an order for Mussorgsky to finish “Khovanshchina” and, having established themselves, gave him... a monthly subsidy (one hundred rubles) “on account” of completing the order. In this noble cause, in addition to V. Zhemchuzhnikov, the state controller T. Filippov took part... who was in awe of Mussorgsky’s talent, their mutual acquaintance F. Neronov, then V. Stasov... The material support of his comrades saved his last strength and made it possible to continue his creative work" (G. Khubov).

By the autumn of 1880, the score of the opera "Khovanshchina" was in the process of completion, but the score of the opera had only just begun by the composer. On November 4, 1880, T.N. Filippov gathered musicians in his house, among whom were the composers of the “Mighty Handful.” M.P. Mussorgsky presented his opera “Khovanshchina” in his original performance. Conductor Berman was present at the evening: “...at T.I. Filippov, Mussorgsky played his “Khovanshchina” in front of the Areopagus of the “Mighty Handful” (Korsakov was not there at that time). It was a pity to see how those present (especially Cui) constantly pestered him with offers of various cuts, changes, abbreviations, etc. (Balakirev turned out to be more modest than the others, oddly enough given his benevolent but despotic character.) So to rattle and crumble a new, just emerging work and crumble not privately, but publicly, in front of the whole society, not only the height of tactlessness, but downright an act of hard-heartedness. And the poor, modest composer remains silent, agrees, cuts back."

The house of D.M. Leonova became the last refuge of the lonely Mussorgsky. The composer came to Leonova “in a very nervous, irritable state.” Things got worse. The doctors suggested that “in view of the expected complex treatment and the need for constant care, he should be placed in a hospital, explaining how important and useful it was for him. He did not agree for a long time, wanting to definitely stay with me. Finally, he was convinced” (Leonova).

The tragic outcome was inevitably approaching. Mussorgsky's friends were faced with the question of preserving the composer's voluminous creative heritage. On the advice of Stasov, M.P. Mussorgsky appointed T.I. Filippov as his executor and transferred “to his full and sole ownership” the rights to all his published and handwritten works. T.I. Filippov fulfilled Mussorgsky's request with great zeal, collecting and publishing the entire musical heritage of the composer.

T.I. Filippov was spoken of with respect in the musical circles of Moscow and St. Petersburg. He contributed to the opening of a memorial plaque in Berlin on the house where Glinka lived and died; procured a pension for the needy composer A.I. Dyubyuk, and then for M.A. Balakirev, contributed to the construction of a monument to Chopin in Warsaw.

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Tertiy Ivanovich Filippov, state controller (~1890)

	State Comptroller
July 26, 1889 – November 30, 1899

Predecessor

Dmitry Solsky

Successor

Pavel Lobko

Birth

December 24, 1825 (5 January )(1826-01-05 )
Rzhev, Tver Governorate, Russian Empire

Death

November 30 (December 12)(1899-12-12 ) (73 years old)
Saint Petersburg, Russian Empire

Education

Moscow University (1848)

In addition to official positions, Tertiy Filippov was known as a publicist, Orthodox theologian and collector of Russian song folklore.

Biography

Born into the family of a pharmacist, owner of the Rzhev Free Pharmacy, Ivan Filippov (d. November 28, 1829).

Terty Filippov studied at the Tver gymnasium in 1837-1843. Then he was a self-employed student at Moscow University and in 1848 he graduated from the 1st department of the university's Faculty of Philosophy third in success with the title of candidate.

From 1848 to 1856, Tertiy Filippov taught Russian literature at the 1st Moscow Gymnasium; became close to the circle of Slavophiles. He took part in the publication of the Slavophile magazines “Moskvityanin”, “Moscow Collection” and “Russian Conversation”; his articles were mainly devoted to the history of the Russian Church of the pre-Petrine period. His idea: Councils and the patriarchate made the Church a living, active spiritual force, providing a symphony of powers.

In 1856, Filippov’s life took a rather sharp turn. A deep knowledge of the Greek language, theological sciences and church law determined the possibility of a new career for Filippov. The Chief Prosecutor of the Holy Synod, Alexander Tolstoy, drew attention to him. Upon his return, he received an appointment as an official of special assignments at the Holy Synod, mainly to deal with matters relating to the Eastern Orthodox Churches and the transformations taking place in theological educational institutions of Russia. In April 1860, Filippov was appointed clerk of the “Committee on the Transformation of Theological and Educational Institutions.”

In 1864, the last change came in his career: he joined the State Audit Office, where he remained until the very end of his life; After fourteen years of service, in 1878 he took the place of second man in the department. From the very moment of the appointment of Dmitry Solsky to the post of State Controller, Filippov for almost twelve years constantly occupied the place of a fellow State Controller, and after Solsky suffered from apoplexy in 1889, he took the place of State Controller. The appointment of Filippov, however, did not happen at all simply, and happened after a silent but rather persistent struggle in ruling circles. Konstantin Pobedonostsev, for example, was categorically against the appointment of Filippov, and his failure became for many evidence of a sharp decline in the influence of the recently all-powerful Chief Prosecutor of the Holy Synod.

Describing Tertius Filippov as minister, Sergei Witte wrote in his memoirs:

Terty Ivanovich was a churchman: he dealt with church issues and literary issues, but only literary ones of a certain shade, issues of a purely mystical direction. He was not a stupid man, but as a state controller and in general as a statesman he was completely unimportant. T.I. Filippov actually did not deal with the matters that he was supposed to deal with, that is, control over all state, economic and business functions. He was transferred to state control because he showed a Russian national direction in his activities... Terty Ivanovich, of course, was much lower than Pobedonostsev in his talents, abilities and education; they did not like each other and disagreed on everything... T.I. Filippov treated K.P. Pobedonostsev quite angrily, and Pobedonostsev treated Filippov quite contemptuously.

Despite the fact that Sergei Witte considered Filippov insufficiently competent in control matters, under his leadership the department from time to time stopped the abuses of various officials. The most famous case was the removal of Apollon Krivoshein from the post of Minister of Railways at the end of 1894. In addition, during the leadership of Tertia Filippov, the scope of departmental powers of the State Control gradually continued to increase. Under Tertia Filippov, reporting on the execution of state registration was improved, and a “Regulation on the procedure for storing and destroying reports audited by the State Control” was issued.

Using his high official position, Filippov often included distressed composers and other musicians in the state control staff. After his death, they spoke more than once about him as a kind man, “who benefited more than a dozen Russian musicians with the salary of an official.”

Even before his appointment to the post of State Comptroller, Filippov took an active part in the activities of the Russian Geographical Society, mainly in collecting Russian folk songs (“song tunes”). In 1884, on his initiative, a song commission was created (under his chairmanship) at the ethnography department of the Russian Geographical Society.

For many years, Terty Ivanovich was friends with Konstantin Leontyev, whom he highly respected and valued. He maintained correspondence with persons who occupied the Patriarchal throne of Constantinople in the second half of the 19th century.

Terty Filippov died on November 30, 1899 and was buried in the Isidore Church of the Alexander Nevsky Lavra in St. Petersburg. After Filippov's death in November 1899, the conservative-minded General Pavel Lobko, who had previously taught Tsarevich Nikolai Alexandrovich the basics of military administration, was appointed State Comptroller.

Creativity and views

He was published in various publications of a conservative-nationalist orientation, in particular in the “Russian Messenger” by M. N. Katkov, in the “Citizen” book. V. P. Meshchersky (editor-publisher since January 1873 - F. Dostoevsky), was one of the founders of the magazine “Russian Conversation”.

He was distinguished by eccentric behavior and quirks. For example, meeting with holders of the Order of St. George, as a greeting, kissed the order on their chest (or neck), plunging the gentlemen into embarrassment.

Some publications

“Ecumenical Patriarch Gregory VI and the Greek-Bulgarian feud” (“Journal of the Ministry of Public Education.” 1870, No. 2 and 3);
“The solution to the Greek-Bulgarian question” (“Russian Bulletin”. 1870, No. 6);
“Definition of the Council of Constantinople on the issue of the Bulgarian Exarchate” (“Citizen”, 1872, No. 23-28);
“Memories of Count A.P. Tolstoy” (“Citizen”, 1874, No. 4);
« / Comp., preface. and comment. S. V. Lebedeva. / Rep. ed. O. Platonov. - M.: Institute of Russian Civilization, 2008. - 448 p. Faresov A.I.. - St. Petersburg: type. A. S. Suvorina, 1900. - 24 p. : portrait; 25.
Faresov A.I. In memory of T. I. Filippov (With a portrait). // Historical Bulletin. - 1900. - T. 79. - P. 670.
Filippov T.I. Russian education. - Moscow: Institute of Russian Civilization, 2008.
Alekseeva S. I. The Holy Synod in the system of higher and central state institutions of post-reform Russia 1856–1904. St. Petersburg: Nauka, 2003; 2nd ed., stereotype. St. Petersburg: 2006. pp. 102–106, 110, 113, 115, 123, 177, 178, 185, 200, 236, 258.
Alekseeva S. I.
Alekseeva S. I. Materials on the history of the Russian Orthodox Church in the archival heritage of T. I. Filippova // Bulletin of the Orthodox St. Tikhon's University for the Humanities. Ser. II. Story. History of the Russian Orthodox Church. - 2007. - No. 2 (23). - P. 7–31.
Alekseeva S. I.“Rzhev tradesman in the nobility”: the history of the family of Tertiy Ivanovich Filippov (according to domestic archives) // Bulletin of the Orthodox St. Tikhon's Humanitarian University. Ser. II. Story. History of the Russian Orthodox Church. - 2008. - No. 2 (27). - P. 7–27.
Alekseeva S. I. Tertiy Ivanovich Filippov in his youth: Materials for a biography // Bulletin of the Russian Humanitarian Scientific Foundation. - 2010. - No. 1. - P. 32–41.
Alekseeva S. I.// History of Russia: economics, politics, people. To the 80th anniversary of Doctor of Historical Sciences, Professor, Academician of the Russian Academy of Sciences B.V. Ananich. - St. Petersburg, 2011. - pp. 13–19. (Proceedings of the Faculty of History of St. Petersburg State University. Vol. 5).
Alekseeva S. I.“Due to the long temptation of my motives, I decide to speak in my own language.” (On the issue of the formation of T. I. Filippov’s worldview) // Russia and the world at the end of the 19th – first half of the 20th centuries. Collection for the 85th anniversary of Boris Vasilyevich Ananich. - St. Petersburg: LLC "Information and publishing company-magazine "Faces of Russia", 2017. - P. 606–616.
Alekseeva S. I. T. I. Filippov – official of special assignments under the Chief Prosecutor of the Holy Synod // Collections of the Presidential Library. Ser. "Electronic archive". Vol. 1. The Holy Synod in the history of Russian statehood: Collection of materials of the All-Russian scientific conference with international participation. St. Petersburg: Presidential Library, 2017. pp. 115–130.

Alekseeva S. I. K. P. Pobedonostsev in the assessment of T. I. Filippov // Konstantin Petrovich Pobedonostsev: thinker, scientist, person: Materials of the International Anniversary Scientific Conference dedicated to the 180th anniversary of the birth and 100th anniversary of the death of K. P. Pobedonostsev ( St. Petersburg, June 1–3, 2007). - St. Petersburg, 2007. - pp. 120–126.
Alekseeva S. I. T. I. Filippov and S. Yu. Witte: on the question of the circumstances of the implementation of the reform course S. Yu. Witte // History of Russia: economics, politics, people. To the 80th anniversary of Doctor of Historical Sciences, Professor, Academician of the Russian Academy of Sciences B.V. Ananich. Proceedings of the Faculty of History of St. Petersburg State University. - 2011. - T. 5. - P. 13–19.

Tertiy Ivanovich Filippov(December 24, 1825 (January 5, 1826), Rzhev - November 30 (December 12), 1899, St. Petersburg) - Russian statesman, senator (since January 1, 1883), active Privy Councilor (since April 9, 1889), State controller (from July 26, 1889 to November 30, 1899).

In addition, Tertiy Filippov was known as a publicist, Orthodox theologian and collector of Russian song folklore.

Biography

The son of a pharmacist and owner of the Rzhev free pharmacy, Terty Filippov studied at the Tver gymnasium in 1837-1844. In 1848 he graduated from the Faculty of History and Philology of Moscow University with the rank of candidate.

In 1856, Filippov’s life took a rather sharp turn. A deep knowledge of the Greek language, theological sciences and church law determined the possibility of a new career for Filippov, drawing the attention of the Chief Prosecutor of the Holy Synod A.P. Tolstoy to him. Upon his return, he received an appointment as an official of special assignments at the Holy Synod, mainly to deal with matters relating to the Eastern Orthodox Churches and the transformations taking place in theological educational institutions of Russia. In April 1860, Terty Ivanovich was appointed clerk of the “Committee on the Transformation of Theological and Educational Institutions.”

In 1864, the last change came in his career: he joined the State Audit Office, where he remained until the very end of his life; After fourteen years of service, in 1878 he took the place of second man in the department. From the very moment of the appointment of Dmitry Martynovich Solsky to the post of State Controller, Filippov for almost twelve years constantly occupied the place of a fellow State Controller, and after Solsky suffered from an apoplexy in 1889, he took the place of State Controller. The appointment of Filippov, however, did not happen at all simply, and happened after a silent but rather persistent struggle in ruling circles. Konstantin Pobedonostsev, for example, was categorically against the appointment of Filippov, and his failure became for many evidence of a sharp decline in the influence of the recently all-powerful Chief Prosecutor of the Holy Synod.

Describing Tertius Filippov as minister, S. Yu. Witte wrote in his memoirs:

Terty Ivanovich was a churchman: he dealt with church issues and literary issues, but only literary ones of a certain shade, issues of a purely mystical direction. He was not a stupid man, but as a state controller and in general as a statesman he was completely secondary. T.I. Filippov actually did not deal with the matters that he was supposed to deal with, that is, control over all state, economic and business functions. He was transferred to state control because he showed a Russian national direction in his activities... Terty Ivanovich, of course, was much lower than Pobedonostsev in his talents, abilities and education; they did not like each other and disagreed on everything... T.I. Filippov treated K.P. Pobedonostsev rather angrily, and Pobedonostsev treated Filippov rather contemptuously.
Witte S. Yu. 1849-1894: Childhood. The reigns of Alexander II and Alexander III, chapter 15 // Memoirs. - M.: Sotsekgiz, 1960. - T. 1. - P. 307. - 75,000 copies.

Despite the fact that Sergei Witte considered Filippov insufficiently competent in control matters, under his leadership the department from time to time stopped the abuses of various officials. The most famous case was the removal of Apollon Krivoshein from the post of Minister of Railways at the end of 1894. In addition, during the leadership of Tertia Filippov, the scope of departmental powers of the State Control gradually continued to increase. Also, under Tertia Filippov, reporting on the execution of state registration was improved, and a “Regulation on the procedure for storing and destroying reports audited by the State Control” was issued.

Terty Ivanovich Filippov(December 24 [January 5], Rzhev - November 30 [December 12], St. Petersburg) - statesman of the Russian Empire, senator (since January 1, 1883), actual secret councilor (since April 9, 1889), State Controller ( from July 26, 1889 to November 30, 1899).

In addition to official positions, Tertiy Filippov was known as a publicist, Orthodox theologian and collector of Russian song folklore.

Biography

Born into the family of a pharmacist, owner of the Rzhev Free Pharmacy, Ivan Filippov (d. November 28, 1829).

Terty Filippov studied at the Tver gymnasium in 1837-1843. Then he was a self-employed student at Moscow University and in 1848 he graduated from the 1st department of the university’s Faculty of Philosophy, third in success with the title of candidate.

From 1848 to 1856, Tertiy Filippov taught Russian literature at the 1st Moscow Gymnasium; became close to the circle of Slavophiles. He took part in the publication of the Slavophile magazines “Moskvityanin”, “Moscow collection” and “Russian conversation”; his articles were mainly devoted to the history of the Russian Church of the pre-Petrine period. His idea: Councils and the patriarchate made the Church a living, active spiritual force, providing a symphony of powers.

In 1856, Filippov’s life took a rather sharp turn. A deep knowledge of the Greek language, theological sciences and church law determined the possibility of a new career for Filippov. The chief prosecutor of the Holy Synod, Alexander Tolstoy, drew attention to him. Upon his return, he received an appointment as an official of special assignments at the Holy Synod, mainly to deal with matters relating to the Eastern Orthodox Churches and the transformations taking place in theological educational institutions of Russia. In April 1860, Filippov was appointed clerk of the “Committee on the Transformation of Theological and Educational Institutions.”

In 1864, the last change came in his career: he joined the State Control Service, where he remained until the very end of his life; After fourteen years of service, in 1878 he took the place of second man in the department. From the very moment of the appointment of Dmitry Solsky to the post of State Controller, Filippov for almost twelve years constantly occupied the place of a fellow State Controller, and after Solsky suffered an apoplexy in 1889, he took the place of State Controller. The appointment of Filippov, however, did not happen at all simply, and happened after a silent but rather persistent struggle in ruling circles. Konstantin Pobedonostsev, for example, was categorically against the appointment of Filippov, and his failure became for many evidence of a sharp decline in the influence of the recently all-powerful Chief Prosecutor of the Holy Synod.

Describing Tertius Filippov as minister, Sergei Witte wrote in his memoirs:

Terty Ivanovich was a churchman: he dealt with church issues and literary issues, but only literary ones of a certain shade, issues of a purely mystical direction. He was not a stupid man, but as a state controller and in general as a statesman he was completely unimportant. T.I. Filippov actually did not deal with the matters that he was supposed to deal with, that is, control over all state, economic and business functions. He was transferred to state control because he showed a Russian national direction in his activities... Terty Ivanovich, of course, was much lower than Pobedonostsev in his talents, abilities and education; they did not like each other and disagreed on everything... T.I. Filippov treated K.P. Pobedonostsev quite angrily, and Pobedonostsev treated Filippov quite contemptuously.

For many years, Terty Ivanovich was friends with Konstantin Leontiev, whom he highly respected and valued. He maintained correspondence with persons who occupied the Patriarchal throne of Constantinople in the second half of the 19th century.

Terty Filippov died on November 30, 1899 and was buried in the Isidore Church of the Alexander Nevsky Lavra in St. Petersburg. After Filippov’s death in November 1899, the conservative-minded General Pavel Lobko, who had previously taught Tsarevich Nikolai Alexandrovich the basics of military administration, was appointed State Comptroller.

Creativity and views

He was distinguished by eccentric behavior and quirks. For example, meeting with holders of the Order of St. George, as a greeting he kissed the order on their chest (or on the neck), plunging the gentlemen into embarrassment., Slavic enlighteners" (St. Petersburg, 1885); Faresov A.I. In memory of T. I. Filippov (With a portrait). // Historical Bulletin. - 1900. - T. 79. - P. 670.

Filippov T.I. Russian education. - Moscow: Institute of Russian Civilization, 2008.

Alekseeva S. I. The Holy Synod in the system of higher and central state institutions of post-reform Russia 1856–1904. St. Petersburg: Nauka, 2003; 2nd ed., stereotype. St. Petersburg: 2006. pp. 102–106, 110, 113, 115, 123, 177, 178, 185, 200, 236, 258.

Alekseeva S. I.

Alekseeva S. I. Materials on the history of the Russian Orthodox Church in the archival heritage of T.I. Filippova // Bulletin of the Orthodox St. Tikhon’s Humanitarian University. Ser. II. Story. History of the Russian Orthodox Church. - 2007. - No. 2 (23). - P. 7–31. // History of Russia: economics, politics, people. To the 80th anniversary of Doctor of Historical Sciences, Professor, Academician of the Russian Academy of Sciences B.V. Ananich. - St. Petersburg, 2011. - pp. 13–19. (Proceedings of the Faculty of History of St. Petersburg State University. Vol. 5).

Alekseeva S. I.“Due to the long temptation of my motives, I decide to speak in my own language.” (On the issue of the formation of T. I. Filippov’s worldview) // Russia and the world at the end of the 19th – first half of the 20th centuries. Collection for the 85th anniversary of Boris Vasilyevich Ananich. - St. Petersburg: LLC "Information and publishing company-magazine "Faces of Russia", 2017. - P. 606–616.

Alekseeva S. I. T. I. Filippov – official of special assignments under the Chief Prosecutor of the Holy Synod // Collections of the Presidential Library. Ser. "Electronic archive". Vol. 1. The Holy Synod in the history of Russian statehood: Collection of materials of the All-Russian scientific conference with international participation. St. Petersburg: Presidential Library, 2017. pp. 115–130.

Alekseeva S. I. K. P. Pobedonostsev in the assessment of T. I. Filippov // Konstantin Petrovich Pobedonostsev: thinker, scientist, person: Materials of the International Anniversary Scientific Conference dedicated to the 180th anniversary of the birth and 100th anniversary of the death of K. P. Pobedonostsev ( St. Petersburg, June 1–3, 2007). - St. Petersburg, 2007. - pp. 120–126.
Alekseeva S. I. T.I.Filippov and S.Yu.Witte: to the question of the circumstances of the implementation of the reformist course of S.Yu.Witte // History of Russia: economics, politics, people. To the 80th anniversary of Doctor of Historical Sciences, Professor, Academician of the Russian Academy of Sciences B.V. Ananich. Proceedings of the Faculty of History of St. Petersburg State University. - 2011. - T. 5. - P. 13–19.

Tertiy Ivanovich Filippov

Filippov Terty Ivanovich (1825-1899) – comrade of the state controller (1878-1889), senator (1883-1899), state controller (1889-1899), member of the finance committee (1889).

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Filippov Tertiy Ivanovich (12/24/1825-11/30/1899), statesman, publicist of the Slavophile movement, secular theologian, collector of Russian song folklore.

Born in Rzhev. According to some sources, he was the illegitimate son of the Rzhev postmaster. He studied at the Tver Theological School, then graduated from the Faculty of History and Philology of Moscow University. From 1848 to 1856 he taught Russian literature at the 1st Moscow Gymnasium. Over the years of his teaching, he became close to a circle of Slavophiles. He took an active part in the publication of the Slavophile magazines “Moskvityanin”, “Moscow Collection” and “Russian Conversation”. Filippov's articles were mainly devoted to the Russian Church in the pre-Petrine period of its history. According to Filippov, church councils and the patriarchate made the Church a living, active spiritual force, providing a symphony of authorities. This structure of the Church was most consistent with the national characteristics of the Russian people. Although Filippov did not touch upon contemporary problems, in fact in these articles he criticized the synodal structure of the Church, which had been turned into part of the state apparatus.

In 1856, as a specialist in folklore, the Naval Ministry sent him to the Don and Sea of Azov to study the life, morals and customs of the local population. Such an order from the sailors was not accidental: after the defeat in the Crimean War, Russia was prohibited from having a naval fleet in the Black Sea. However, the Russian naval command was ready, if necessary, to quickly arm merchant ships and mobilize the inhabitants of the Black Sea provinces into the reviving fleet. Filippov liked such an assignment; he could study folklore and at the same time serve the Fatherland. He coped with the assignment brilliantly, and his recommendations were used to recreate the Black Sea Fleet in 1870. Later, Filippov became an official on special assignments under the Chief Prosecutor of the Holy Synod, gr. D. A. Tolstoy, dealing with the affairs of the Eastern Churches and spiritual educational institutions. In this capacity, Filippov took part in resolving a number of church issues. Being involved in the affairs of the Eastern Christian Churches, Filippov not only provided great assistance to the Balkan and Middle Eastern Orthodox, but also established contacts with the pre-Chalcedonian Eastern Churches, which existed in extreme oppression in the Ottoman Empire and Persia. Filippov’s book “A few words about the Nestorians” became one of the first not only in Russian but also in world scientific literature to describe the religious and social life of the last followers of the teachings of Nestorius.

In 1864 Filippov joined the State Control Service, where he served until the end of his days. State control was the name given to the audit department that existed since 1810, checking the financial statements of the empire's institutions, developing and approving the annual budget. Since 1878, Filippov was a comrade (i.e., deputy) of the state controller; in 1883 he became a senator and in 1889 - state controller. It is clear that such a position must be filled by a person with organizational skills, an expert in all accounting and, most importantly, incorruptible. Filippov fully met these requirements. Officials nicknamed their boss “Grated”, changing his name as such, since no one could fool Filippov. However, the activities of a high-ranking official were not the only ones in his life. Despite being busy in the service, Filippov published a lot in various national publications, in particular in “Russian Vestnik” M. N. Katkova, in "Citizen" book. V. P. Meshchersky, was one of the founders of the Russian Conversation magazine. Filippov had a great influence on the worldview A. N. Ostrovsky , Ap. Grigorieva and other writers. An excellent expert on the Greek language and the works of the Church Fathers, Filippov rightly had a reputation as an authoritative secular theologian. In addition to the current problems of the Russian Church, he was involved a lot in the Old Believers. As a researcher of folklore and an official of the economic department, I saw that the Old Believers preserved primordial Russian traditions in their everyday life and at the same time turned out to be skilled industrialists, ensuring not only the well-being of their community, but also significantly contributed to the industrial rise of Russia.

Filippov defended the Old Believers in every possible way, advocating the complete abolition of all restrictions existing for them. To resolve many pressing issues in the life of the Church and for reconciliation with the Old Believers, he proposed convening an Ecumenical Council. According to Filippov, the Council was supposed to lift the oaths on the Old Believers in 1667 and give new impetus to Russian and universal Orthodoxy. However, his initiative did not arouse enthusiasm either in the Holy Synod, whose head K. P. Pobedonostsev neither did the hierarchs of the Eastern Churches fear the Ecumenical Council would turn into a purely political event. Understanding the complexity and problematic nature of convening an Ecumenical Council, Filippov carefully, in allegorical expressions, expressed the idea of convening a Local Council of the Russian Church and restoring the patriarchate. But this also sounded almost revolutionary to synodal officials. Filippov's proposal did not cause any practical action among the hierarchy. Filippov found his true calling in collecting Russian folk songs. He not only diligently recorded Russian folk songs and deciphered the “hook” musical notation of ancient songs, but also did a lot to popularize folklore among the enlightened layer of society. Having become a member of the Russian Geographical Society, Filippov created a special song commission under it in 1884 to equip expeditions for the purpose of collecting folk songs.

Lebedev S. V.

Materials from the site Great Encyclopedia of the Russian People were used.

Pokrovsky P.P. about Filippov

There were stories about each state controller. There were especially many of them about Tertii Ivanovich Filippov, who even died in the office of the state controller. He built and decorated the church in Control in a marvelous tent style. Under him, the choir of this church was created. In his dining room there was singing of ancient Russian songs. Of course, thanks to such conditions, a certain nepotism was created: many employees had either family or personal relationships, some with T.I. Filippov, who - to P.A. Kharitonov. I remember Filippov’s expression about some loser: “Finally he found refuge in the State Control.” By this I do not at all want to cast a shadow on the composition of the employees...

Materials used from the publication: Pokrovsky N.N. The last one in the Mariinsky Palace: memoirs of the Minister of Foreign Affairs. M., 2015, p. 133.