bibliography on russian guitar

9/9/09 8:22 PMBibliography on Russian Guitar

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A Basic Bibliography on the Guitar in Russiain 19th- and 20th-Century

compiled by JcG

1. Russian sources in chronological order

Books and Essays from 1700 to 1899

1. Jakov Shtelin, Nahr von Die Musik in Russland, St.Petersburg 1769.This book was re-issued in 1935 bearing the title Izvestija o muzyke v Rossii -Muzykalnoe nasledie (News on Russian Music - Musical Inheritance). A copyat Glinka Museum (f. 359, N 71, l. 231-232). The writer Jakov Shtelin, aPetersburg dweller, was a member and a professor of the Russian ScienceAcademy and an encyclopedist numbered as being one of the earliest Russianmusical historians. He was active until 1740 as columnist for the newspaperS.Peterburgskie vedomosti. He was able to provide us with the earliestindications on the guitar cultivation in Russia. This is in all probability the firstsource on the appearance of guitar in Russia. The author describes it asfollows:

"At the end of the telling about the musical news and curiosity at courtof Elizabeth, one should mention also the Italian kitarra [sic], (La

Chitarra [sic, in Latin], namely the "gitara" [in Russian] together whit his countryman mandolin,brought thanks to the Italians, it appeared in St. Petersburg and Moscow, and he could notbeen employed, as in England, for the accompaniment of loving sighs under the front door ofthe lover, in our country where neither night Serenate [sic] nor the sighs along the streets areusual".

Shtelin published also an Opera bearing the title "Triton", as a separate booklet under the name"Music and ballet in 18th-Century Russia".

2. Nikolaj Petrovich Makarov, Dve sestrichki (Two little sisters), BankTscheslavija (Bank of vainglory), Stradalcheskij krest (The cross ofthe martyrdom), St.-Petersburg 1861.This romances were signed by the author with the pseudonym "Ghermochen Trechzvevdockin". These arethree quite big volumes of literary and autobiographical character. The author N.P. Makarov (1810-1890) wasan important 6-string guitarist, highly educated, eminent lexicographer (it is mentioned he was also author ofthree dictionary) and the writer of the text of a famous Romance by Guriliev ("Odnozvuchno gremit kolokolcik").In his books one can find a vivid description of the guitar history in its decay period.

3. Mikhail Stakhovich, Istorija semistrunnoj gitary (History of theseven-string guitar), St.Petersburg, ed. Stellovski, 1864.This book is the re-issue of the original text appeared in the magazine "Moskvitjanin", Moscow 1854, N4 and"Akkord", 1864, N 14. This very important text, is mentioned as one of the main source for any research in thefield of history of guitar in Russia by all Russian musicologists.



4. Nikolaj Makarov, Quelques rgles du jeu superior de la guitar (Somerules of superior performance on the guitar)), St.-Petersburg 1874.Bilingual edition (Russian - French) including a Preface and 9 "Rules".

5. Nikolaj Makarov, Moi semidesjatiletnie vospominanja i s tem vmestemoja predsmertnaja ispoved (My 50 years of remembering and withthem my final confession), St.-Petersburg 1881.Here it is also re-issued the previous work "Zadushevnaja ispoved", published in the magazine "Sovremennik"in November 1859.

6. Aleksandr Faminizyn, Domra i srodnye ej instrumenty russkogonaroda (Domra and other similar instruments of the Russianpeople), St.-Petersburg 1891.This is a very erudite work on the use of the plucked instruments. The volume 6 is dedicated to the guitar inRussia and in the West. The book was repeatedly quoted by the American musicologist Matanya Ophee, (alsoerroneously with the only first name of the author, Aleksandr Sergeevich), see the bibliography of his article "Laguitar in Russia" in Il "Fronimo" op. cit.

7. Valerian Rusanov, Gitara i gitaristy (Guitar and guitarists), Moscow1899.This is a detailed biography of the Russian guitarist Mikhail T. Vyssotski (1791-1837).

Books and Essays from 1900 up today

8. Valerian Rusanov, Gitara v Rossii (Guitar in Russia), Moscow 1901.This essay contains the first detailed biography of Andrei Ossipovich Sychra (1773-1850) and a the mention ofhis complete works, and also the critics of the works of Stakhovich (see ref. 3).

9. Sergej Zajaizkii, Internatzionalnyj soyuz gitaristov (The InternationalUnion of guitarists), Moscow 1902.In this volume are included the biographies of the major guitarists of the period, and also of the InternationalAssociation of guitarists in Mnchen in the years 1900-1901. The author, Moscow Sergej Spirindovich Zajazkin(1850-1910) was a pupil of Sychra and Vyssotski and was an active performer and propagandist.

10. P. Chebodko, Istoriceskaja spravka o gitare (Historical Notes on theGuitar), Kiev 1910 (or 1911), 15 pages.This contains an authorized summary of the previous works of Valerian Rusanov.

11. Josef Zuth, Handbuch der Laute und Gitarre Guberner Hierhammer,Vienna 1926.



Vienna 1926.The notes on Russia were written by Vladimir Mashkevich.

12. Aleksandr Martinsen, Neskolko slov o gitare (Some words on theguitar), Moscow 1927, 24 pagesThis is a self-produced edition by the author, printed in 1,000 copies. It is devoted to the arrival of AndrsSegovia in Russia, whose here is a portrait "while he executes a pizzicato", and some piece of history of theRussian seven-string guitar.

13. P. Stolpjanskij, Starij Peterburg. Muzyka i muzitzirovanie v staromPeterburge (Old Peterburg. The Music and the Musicians in the oldCity), Leningrad 1927.Not checked.

14. Pjotr Agafoshin, Novoe o gitare (News on the guitar), Moscow 1928,58 pages.Interesting pamphlets about the history of 6-string guitar, with some attacks against the 7-string guitar.

15. Boris Ejchenbaum, Marshrut v bessmertie. Zhizn i podvighiciuchlomskogo dvorjanina Nikolaja Petrovicia Makarova (Roottowards the immortality. The life and the adventures of the nobleNikolaj Petrovic Makarov), Moscow 1933.It is here re-issued the volume of the "Memories" of Makarov, with many satirical notes and critics.

16. Domingo Prat, Diccionario biogrfico, bibliogrfico, histrico,crtico, de guitarras, guitarristas, guitarreros, Casa Romero yFernandez , Buenos Aires 1933, vol. I-IV.The entries on the Russian guitar are cured by Valdimir Pavlovic Mashkevich (1888-1971). Modern edition byFacsimile, due to Orphe Edition 1986.

17. M. Mejcik, Paganini, Moscow 1934.It includes some information on Paganini as guitarist.

18. V. M. Kuznetzov, Analiz stroja 7-mi i 6-ti strunnoj gitary (Analysis ofthe tuning of the 7- and 6-string guitar), Moscow 1935.This essay is re-issued in the volume by Yablokov (ref. 41).

19. K. A. Kuznetzov, Muzhikalno-istoriceskie portrety, Muzgiz, Moscow1937.



1937.This essay is re-issued in the volume by Yablokov (ref. 41).

20. R. Aloys Mooser, Annales de la Musique et des Musiciens en Russieau XVIIIe sicle, Geneva, Editions de Mont-Blanc, 1948-51, vol. II.Probably the most important essay written by a not-Russian author, it includes news about the guitaristsGiuseppe Santi (who was often mistook in Russian sources with the great composer Giuseppe Sarti, asreported also in M. Ophee, see "il Fronimo", op. cit.) at p. 610 - 678, about Batik (p. 645-646), Kamenski (p.719), Kouchenet (p. 767) and mention all the works for guitar by Carlo Canobbio (p. 250-2).

21. M. Ivanov, Russkaja semistrunnaja gitara (The Russian seven-stringguitar), Moscow-Leningrad 1948, 152 pages.The introduction is written by Boris Asafiev (1884-1949). The printed copies of the book were 6,000.

22. V. Manujlov, Gitarist Vyssotskij i Lermontov - Leningradskijalmanach (The guitarist Vyssotskij and [the poet] Lermontov -Almanac of Leningrad), vol. 9, 1954.Not checked.

23. D. Rogal-Levizkij, Sovremennje orkestr (The ContemporaryOrchestra), Moscow 1956.In the vol. 4 is presentated the guitar, with some music examples.

24. Boris A. Perott, Incontro con Makaroff (trasl. M. Ablniz), in "L'ArteChitarristica", ed. Brben n. 55 anno X, Modena Gen.-Febr. 1956.Translation from English (the original source is unknown to me) of the story of the friendship between B.A.Perott and N.P. Makarov.

25. Boris Volman, Gitara v Rossii (La guitar in Russia), Leningrad,Muzgiz, 1961, 180 pages.Printed in 10,000 copies. The first appearance of the guitar in Russia, its scholars, the periods of flourishingand decay, its perspectives. The chapter "The guitar and the Russian song" deals with the genesis of the song"Ekhal kozak za Dunaj" (The kosak went to Danube), and its fortune in Western countries (also described bythe musicologist M. Ophee).

26. I. Jampolskij, Paganini. Zhizn i tvorcestvo (Paganini. Life and Work),Muzika 1961.At p. 292 it deals on N. Paganini as a guitarist.

27. Powrozniak Jzef, Gitara od A do Z, Polskie WydawnictwoMuzyczne 1966.



Muzyczne 1966.Biographies and news about the guitar in Russia are here contained, with few pictures.

28. Boris Volman, Gitara i Gitaristy (The guitar and the guitarists),Muzika, Leningrad 1968, 188 pages.Printed in 10,000 copies. History of the 6-string guitar in Europe and Russia, with short bibliographies of itsperformers. In the book are mentioned 605 names, of whom 134 are Russian and Soviet. An entire chapter isdevoted to the A.Segovia's activity.

29. A. Vodarsky-Shiraeff, Russian Composers and Musicians, ABiographical Dictionary, Da Capo Press, New York, 1969.Brief biographic dictionary, with some dozens of Russian guitarists of the 19th- and early 20th-century.

30. Lev Voinov e Vitalij Derun, Tvoj drug gitara (La tua amica chitarra),ed. Sredne-Uralskoe knizhnoe, Sverdlosk 1970, 56 pages.Printed in 75,000 copies. The authors are among the most known scholar and historic now in Russia, but theirbook just popularizes the guitar.

31. B. Volman, Russkie notnye izdanija XIX veka (The Russian editionsof 19th-century), Muzika, Leningrad 1970, 215 pages.It lists many Russian editions in 19th-century, the guitar can be found on the p. 19, 22, 27-29, 54-58, 72 etc.

32. Boris Volman, Gitara (Guitar), Muzika, Moscow 1972, 62 pages.Printed in 25,000 copies. Pocket book of the serie "Musical instruments", with short description of history withfew music examples and pictures.

33. P. Meleshko, Kak delat perelozhenja dlja semistrunnoj gitary (Howto conduct a transcription for the 6-string guitar), Moscow 1975.Here are explained many suggestions and examples on the subject (how to choose the keys, etc.)

34. Miron Vajsbord, Isaac Albeniz, Sovietskij Kompozitor, Moscow1977, pages 152.Printed in 10,000 copies. Here are mentioned all the recordings by A. Segovia, M. Llobet and M.L. Anido.

35. I. Martynov, Muzyka Ispanii (The music of Spain), SovietskijKompozitor, Moscow 1977, 359 pages.It contains a comparison between the pianoforte and guitar under the influence of the guitar in the works ofAlbeniz, Granados and Falla.



36. Francois-Rene Tranchefott, Les instruments de musique dans lemonde, Vol. I, Editions du Seuil, 1980.Folk instruments in Russia (domra, Ucrainian lute-bandurria, etc).

37. Miron Vajsbord, Andres Segovia, Muzika, Moscow 1981, 120 pages.Number of copies: 20,000. The biography by Andrs Segovia, written by Miron Abramovich Vajsbord, well-known pianist and musicologist. It is a very detailed source about the Segovia's journeys in Russia. Here arementioned all the Segovia's transcriptions, all his recordings, among which the ones by Melodija LPs, almostunknown in the Western.

38. A. Larin, Gitara v Rossi. Obzor literatury (The guitar in Russia.Review of literature), article on "Almanach bibliofila" XI, Moscow1981, p. 142-153.Number of copies: 50,000. This is probably among the first attempt to generalize the primary and secondarysources about the guitar in Russia.

39. V. Poponov, Russkaja narodnaja instrumentalnaja muzika (TheRussian popolar instrumental music), Znanie, Moscow 1984, 112pagg., tir.: 50,000.

40. T. Shcerbakova, Tziganskoe muzikalnoe isponitelstvo i tvorcestvo v Rossii (The musical performance in thegipsy creativity in Russia) , Muzika, Moscow 1984, pages 176.

Printed in 25,000 copies. It includes an extended bibliography on the subject.

41. V. Maksimenko, Graficheskoe oformlenie notnogo teksta dlja gitary(Graphical formulation of the music guitar text), SovietskijKompozitor, Moscow 1984.About guitar notation for classic music andd flamenco (128 pages).

42. A. Nikolaev, Nekotorye voprosy artikuljatzij na nachalnom etapeobucenija v klasse gitary (Some problems of articulations in thefirst stage of teaching in the class of guitar), Muzika, Leningrad1985, pages 59-70.This article was published in the vol. 6 of the serie "problems of musical pedagogy".

43. V. Chvatov, Vospominjanija, Stati, pisma (Ricordi, articoli, lettere),Sovietskij Kompozitor, Moscow 1985, pages 282.Printed in 3350 copies. The volume is devoted to the orchestra of folk instruments of the choir "Pjatnitzkij", butincludes an article by Chvatov on the 7-string guitar.



includes an article by Chvatov on the 7-string guitar.

44. Josef Powrozniak, Guitar Lexicon, Verlag Neue Musik Berlin, 1986.Fundamental text for the guitar history, unluckily with many drawbacks.

45. Nikita Koshkin, Interview in Guitar International, September 1986.Early interview with this Russian composer, the many subsequent ones will not be mentioned.

46. Igor Rekhin, "The world of the guitar" in "Sovietskaja Muzyka" april1986.One of the article by I. Rekhin, who published " more then 40" ones

47. S. Gazarjan, Rasskaz o gitare (Story about the guitar), Detskajaliteratura, Mosca 1987, 48 pagesPrinted in 20,000 copies. An overview of the various types of guitars, their history and a chapter on A. Segovia.

48. "Gitara", musical almanac, first exit 1987Printed in 10,000 copies. It includes a collection of music and articles by A. Nazarov "About the guitar", EvgenijLarichev "The 6-string guitar", L. Menro e A. Shirjalin "La guitar a sette corde", Yuri Rimkavicjus "Il cantoleggendario della chitarra (su M. Sokolovski)", A. Shirjalin "Osannato da Lermontov (su Vissotskij)", E. Laricev"La tecnica di Segovia", A. Kuznetzov "La guitar nel jazz".

49. A. Kolosov, Gitara Alekseja Kuznetzova (The guitar by AleksejKuznetzov), Moscow 1987, p. 268-272.Articolo contained in the book "Soviet Jazz. Problems. Evolution. Masters.".

50. V. M. Musatov E V. I. Popov, Gitara, obzor i kratkaia annotatziarusskhikh pechatnykh materialov (The guitar, a bibliography with ashort annotation of the printed materials), Sverdlosk (Ekaterinburg),1988, 67 pages.Valuable attempt to write a complete bibliography about the subject. The book, updated until 1988, lists 50printed "books", 9 "typewritten books", 14 "catalogs", 8 "programs of study and methodic instructions", 147"articles in magazines" from 1817, 335 "articles in newspapers" from 1801, 59 "schools and autodidacticalmethods" from the Vysotski's School (1866).

51. Yablokov e A.A.V.V., Klassiceskaja Gitara v Rossii i SSSR (Theclassical guitar in Russia and USSR), Russkaja Entziklopedija,Tyumen-Ekaterinburg 1992, about 1300 pagesThe volume was printed in 3,000 copies. It includes as annex: 1. V.M. Kuznetsov - "Analisis of the guitartunings" (12 pages), 2. V.A: Rusanov - "The musical palette of the guitar" (8 pages); 3. "The guitar in rhymes"(59 pages). It is an impressive reprint of a part of the voluminous Mashkevich's archive (preserved at the



(59 pages). It is an impressive reprint of a part of the voluminous Mashkevich's archive (preserved at theGlinka's Museum in Moscow). The volume bears as a subtitle "Musical-literary Biographycal Dictionary-newsletter of the Russian and Soviet scholars of the guitar"; the biographies are listed alphabetically (by the 29initial cirillic letters). The redactors' committee comprises, beside many cultural and artistic societies ofTyumen, these authors: Mikhail S. Yablokov, guitar teacher at the Tyumen Institute, Anastasija V. Brdina,concertist of seven-string Russian guitar, V. A. Danilov, doctor of historical sciences, Vitalij M. Derun, guitarteacher at the Ural Conservatory, Ph. Dr. N.D. Zotov and S.P. Suroviatin. The pages are printed in twocolumns, numbered by columns (from 3 to 2108 for the numbered pages, but at the end there is a longunnumbered photographic file of about 120 pages). The dictionary lists a great number of Russian guitarprofessionals and aficionados, coming from all the former Soviet Union, until about 1991, and just somecomposers of the same area (the listing of them is quite uncomplete). It includes a complete Russiantranslation of the well known Method for Guitar by Fernando Sor. In the internal pages the photos are absentand the musical examples are almost rare, but there is space for the long biographies and the list of works ofthe musicians. The chapter "The Guitarra in Rhymes" is a collection of hundreds poetries and songs inspiredby the guitar, from F.Garcia Lorca to Turgenev (included Gitara by Evgenij Evtushenko and Vinceremos byPablo Neruda). The photos archive begin with the early 19th-century, coming up the newest Russian guitargeneration, with many reproductions of very old guitars, and complete genealogies of pupils. There is only aphoto by Andrs Segovia together with Piotr Isakov (during the Fifthies). Unluckily, thers is no index of all thebulk of materials contained therein.

52. Liudmila Rapatskaia, La musique pour guitare du compositeurmoscovite Igor REKHIN, Les Cahier de la Guitare et de la Musiqueno. 48, 1993, Paris.Analysis of the music by this composer, Moscow dweller.

53. Gitarnyj Almanakh, ed. V.Ustinov, Nachala-Press, Vikom 1993.Guitar periodical, to my knowledge it exited in one number only.

54. Marco Bazzotti, La chitarra degli zar, Seicorde no. 43, Jan.-Feb.1994, p. 12-19.A divulgative summary of aspects related to the subject.

55. Eric Godel-Cecco, Petr Ivanovic Panin: Invitation au voyage, LesCahiers de la Guitare et de la Musique n50, 1994, Paris.

56. Gitarist' No. 1, 2, 3 (1993, 1994, 1996),Guitar magazine reissued in Moscow by Volkov and I. Rekhin.

57. A. Shirjanin, Poema o gitare (Poem on the Guitar), Moscow 1994.Summary of Russian guitar schools for 6- and 7-string guitar.

58. Russian National Library Svodnij Katalog Rossijskikh Notnykh Izdanij,Tom 1: XVIII vek (General catalog of Russian musical printed materials -Part 1: 18th-century)



Part 1: 18th-century)It lists many guitar editions of the period, with Latin transliterations. The guitar is here represented by songswith guitar(s) accompaniment, or guitar duo, by the (presumably) Frenchmen J.B. Hainglaise, A.F. Millet andDalayrac, Martin-y-Soler, the Russian Koslovsky, M.me Kourakin, B.N. Dalgourokin, D.P. Boutourlin, and theCountess Golowin, the Italian Mortellari, G.B. Pergolesi, Rosselli, Tarchi, Solzi, Missini, T. Saporiti, Marrone, V.Righini, P. Muschietti, etc. (from pages 77 to 87). The other part are awaited.

59. Articles M. Ophee:"The Memoirs of Makaroff", in Soundboard IX/3 - 1982 Fall. Makaroffs Confession regarding thecompetition at which Mertz won first prize. Supplementing the truncated translation by Vladimir Bobriand Nora Ulrich previously published in the Guitar Review."La Chitarra in Russia: osservazioni dallOccidente", in Il Fronimo XV/58 1987 Jan.A discussion of players and compositions of and for the guitar in Russia (in Italian).M. Ophee: "The Musical Activity of Boris Perott in Russia", in Classical Guitar X/4 1991 Dec.Translation and annotation of two reviews of Perotts comcerts in pre-Revolutionary Russia."Der Patriarch der russischen Gitarristen: Andrei Osipovich Sychra", in Gitarre & Laute XV/6, 1993Nov/Dec. Also appeared in CG XII 4 and 5. In German.1993 Dec, "The Patriarch of Russian GuitaristsAndrei Osipovich Sychra", in Classical Guitar XII/4Part 1 of 2; discusses inherent difference in flavor of Russian vs. Western musical compositions; bioinfo on Sychra."Slavic Robin Hoods, or Hoodlums?" in The Orphe Catalogue, 1993. Discusses the pirating of musicpublications by many Soviet guitarists"Slawische Robin Hoodsoder blo gemeine Ruber?" in Gitarre & Laute XV/5, 1993 Sept/Oct.Questions of Soviet and Russian guitarists ignorance, willful or otherwise, of international copyright. InGerman."The Patriarch of Russian GuitaristsAndrei Osipovich Sychra", in Classical Guitar XII/5, 1994 Jan.Part 2 of 2; an appraisal of some works by Sychra, including variations on "Not a Single Path in theField," and The Four Concert Etudes."Andrei Osipovich Sychra", in Gendai Guitar XXVII/350 1994 July.Discusses concert etudes; includes edition for 6-string guitar of "Not a Single Path in the Field". InJapanese."Variations of Carnival de Venice" by N. Makaroff; Soundboard IX/3 1982 Fall.Annotation and edition of the piece.1982 Sept/Oct, Variationen uber "Carnaval de Venice" von Nikolai Petrovich Makaroff; Gitarre & LauteIV/5, Annotation and edited facsimile of the piece(in German)."Piccolo Fantasia," by Ivan Smertseevich Ovsianiko-Kulikovski; Soundboard IX/2 1982 Summer.As Shutka O. Yerundovski (a fictitious persona created jointly with George Warren). Annotation andedition of the piece."Etude" by Nikolai Alexandrov; Soundboard XVII/2 1990 Summer.Annotation/question and edition of the piece."Tarantella" by Alexandr Mikhailovich Ivanov-Kramskoi; Soundboard XVII/3 1990 Fall."Svetlanas Lullaby" by Tikhon Khrennikov; Soundboard XVIII/1 1991 Spring.Annotation and edition of the piece."The Spinster" by Mikhail Timofeevich Vyssotsky; Soundboard XVIII/4 1992 Winter.Annotation and edition of the piece."The Post" by Marek Sokolovski; Soundboard XIX/2 1992 Summer.Annotation, with biographical info on the composer, and edition of the piece, plus mea culpa re TheSpinster."Drei Romane von Agatha Christie und amerikanischer Rockn Roll", in Gitarre & Laute XV/1 1993Jan/Feb.Interviewed by Peter Pffgen for G&L; discusses controversial writings, Segovia, Russian guitar music,recent publications.Introduction, Historical Notes, and About This Edition: The Russian Collection, vol. 1, 1986.General history of guitar in Russia, with information on scholars and composers/enthusiasts; editorial



General history of guitar in Russia, with information on scholars and composers/enthusiasts; editorialmethodology; biographical info on the composers of the pieces in this volume and some commentaryon the pieces themselves.From the Editor: Music by Soviet Composers (Russian Collection Volume V), 1989.Biographies of the composers and brief discussion of the edition.Introduction, About this Edition: Andrei Sychra, Four Concert Etudes (Russian Collection Volume II),1992.Biography of Sychra, historical commentary on the etudes, and performance discussion.Editors Preface: Boris Asafiev, Music for Guitar Solo (Russian Collection Volume VI) 1992.Asafievs relationship to the guitar and commentary on the manuscripts and editorial procedures.Introduction to Nocturne by Vasilii Sarenko. The Orphe Catalogue, 1993.Brief note on the arrangement for 6-string guitar, dedicated to Leif Christensen.Introduction: Music by St. Petersburg Composers for Classical Guitar (Russia, Collection vol. 4) 1994.Detailed biographical info and commentary on the pieces, much of it on Asafiev, Prelude et Valse.Editors Preface: Sergei Rudnev, Russian Folk Songs for classical guitar (Russian Collection VolumeIII) 1994.Discusses the genesis of this edition and of the folk songs which it emulates.

60. Oleg Timofeyev and Marco Bazzotti, La chitarra eptacorde nellacultura russa dell'Ottocento, no. 104 of "il Fronimo", p. 27-40, Milan1998.History and anecdoctes of the Russian 7-string guitar of the Golden Age.

End Notes

This bibliography, due to its nature, is forcedly uncompleted and a work in fieri. The present version will be keepupdated as soon as possible to the author.I will be grateful to anybody who wish to help me with translations and insertion of new data.I wish to thank Mr Oleg V. Timofeyev for his suggestions and corrections.

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