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Mixed Choir "Olevine" ?– Flower Grow Live
Label: ??????? ?– ?30 27727 007, RiTonis ?– C30 27727 007
Format: Vinyl, LP, Album, Repress
Country: USSR
Released: 1989
Genre: Classical
Style: 
 
Tracklist
A1
Flower, Grow, Live!
A2
A Song Of Spring
A3
How Can I Be Silent
A4
A Bee Is Flying Towards Its Hive
A5
A Youthful Dream
A6
The Singer's Childhood Days
A7
Where Is The Home Of The Sad One
A8
Come Home
A9
Let's Make Merry
A10
A Dance Song
B1
Before and now
B2
What Will You Tell Me, Dawn Wind
B3
I Give All To My Dearest
B4
How Beautiful The Flower
B5
When You Come, Bring Me Flowers
B6
Homesick
B7
Kalev And Linda

Companies, etc.
Pressed By – ??????? ????? ?????????????
Credits
Composed By – Miina Härma
Conductor – Ants Sööt
Notes
Titles also listed in Estonian and on labels.
On label 2: ?????? 1989 ?.

???????
Profile:
USSR state label founded in 1964. Now - Russian label. The label is also known as Melody, Melodia, Melodiya or Melodija.
Label Code: LC 6969 / LC 06969
It was the only record label operating in the USSR beyond 1964 (the state had a number of record labels operating prior to 1964), but ceased to be state-owned when the USSR collapsed. Export releases were shipped with full colour sleeves and, at least, English translations while most domestic copies had generic paper sleeves.

Manufacturers
Manufacturer can be found on the vinyl labels, right below "???????".
Here are known manufacturing plants:
??????????? ????? ????????????? [or] ??????????? ?????? ?????? ????? ?????????????
?????????? ?????? ?????????? had small production, in 1978 it was transfered to ?????????? ??????? ????? «??????????» [or] ??? «??????????»
????????????? ????? ?????????????
??????? ????? ????????????? [or] ??????? ?????? «???? ??????» ????? ?????????????
??????????? ????? ????????????? ??. ?. ?. ?????????????
?????????? ?????? ??????????
?????????? ????? ??????????? ??????
????????? ?????

Miina Härma (9 February 1864 – 16 November 1941) was a widely recognised Estonian composer. She was the second Estonian musician with higher education.
Her greatest contribution is perhaps the fact that she took organ music to the countryside, as virtually no skilled organists gave concerts outside of towns.
During her 60-year period of creativity, she wrote more than 200 choral songs, 10 cavatinas, a canto, "Kalev and Linda" and much more. Most of her works were forms of vocal music, rather than instrumentals.
Biography
Härma was born Miina Hermann in 1864 in Kõrveküla, Livonia, Russian Empire to a local teacher and his wife. There were seven children in the family. Both of her parents were musically educated. Härma began to learn music on her own with a small organ her father bought her. When she was 15, Härma began studying with K. A. Hermann, who gave her lessons in both musical composition and piano.
In 1883, Härma entered the Saint Petersburg Conservatory as its only organ student that year. She graduated in 1890, but continued to live in Saint Petersburg because it was very hard to find work in the Baltic governorates. In 1894, the fifth Estonian Song Festival took place, which led to the formation of Härma's own choir.
 
Miina Härma conducting at the IX Estonian Song Festival in Tallinn in 1928.
In 1903, as financial problems overwhelmed her, Härma moved to Kronstadt, Governorate of Saint Petersburg. She had to leave the city in 1915 because of the beginning of the First World War, as no civilians were allowed to stay there. Despite the fact that music had rapidly developed in Tartu, it was still hard to find a job as a music teacher, since there were almost no students due to the war. In 1917, Härma became a music teacher in a school that is now the Miina Härma Gymnasium.
Miina Härma died on November 16, 1941, in Tartu. She is buried in the Raadi Cemetery.

?

 

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FYI
 

 

In music, a single or record single is a type of release, typically a recording of fewer tracks than an LP or a CD. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular songs from albums that are released separately for promotional uses such as commercial radio airplay, and in other cases a recording released as a single does not appear on an album. 45 rpm records are played on a record player or turntable. They can be played one at a time, with the records changed manually after they finish, or a stacking spindle could be used to play up to six in succession without manually changing them. The use of the spindle led to the coined "Stack O Wax" term in the 1950s.
History
The basic parameters of the music single were established in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12/30 cm). By around 1910, however, the 10-inch (25 cm) 78 rpm shellac disc had become the most commonly used format.
The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The relatively crude disc cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, and a high rotation speed was necessary to achieve acceptable recording and playback fidelity. 78 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm.
These factors, combined with the 10-inch songwriters and performers increasingly tailored their output to fit the new medium. The 3-minute single remained the standard into the 1960s when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recordings. In 1968 songwriter Jimmy Webb shattered the standard 3 minute format with "MacArthur Park" which exceeds 7 minutes length. Although Webb had written million-selling songs and was a multiple Grammy winner, the song had been rejected by several labels as simply too long for the marketplace to bear. The Beatles' also challenged deliberately the long-standing 3-minute standard for pop singles with their 1968 7 minute 20 second single "Hey Jude" which according to some was extended in length in order to exceed "MacArthur Park"
Singles have been issued in various formats, including 7-inch (18 cm), 10-inch (25 cm) and 12-inch (30 cm) vinyl discs (usually playing at 45 rpm); 10-inch (25-cm) shellac discs (playing at 78 rpm); cassette, 8 and 12 cm (3- and 5-inch) CD singles and 7-inch (18 cm) plastic flexi discs. Other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc (5/12 cm, 8/20 cm, etc.).
The most common form of the vinyl single is the 45 or 7 inch, the names are derived from its play speed, 45 rpm and the standard diameter 7 (18 cm).
The 7 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s.
Although 7 remained the standard size for vinyl singles, 12 singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12 discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they 'wore' better, and were less susceptible to scratches. The 12 single is still considered a standard format for dance music, though its popularity has declined in recent years.
The sales of singles are recorded in record charts in most countries in a Top 40 format. These charts are often published in magazines and numerous television shows and radio programs count down the list. In order to be eligible for inclusion in the charts the single must meet the requirements set by the charting company, usually governing the number of songs and the total playing time of the single.
In popular music, the commercial and artistic importance of the single (as compared to the EP or album) has varied over time, technological development, and according to the audience of particular artists and genres. Singles have generally been more important to artists who sell to the youngest purchasers of music (younger teenagers and pre-teens), who tend to have more limited financial resources. Perhaps the golden age of the single was on 45's in the 1950s and early 1960s in the early years of rock music. Starting in the mid-sixties, albums became a greater focus and more important as artists created albums of uniformly high quality and coherent themes, a trend which reached its apex in the development of the concept album. Over the first decade of the 21st century, the single generally received less and less attention in the United States as albums, which on Compact Disc had virtually identical production and distribution costs but could be sold at a higher price, became most retailers' primary method of selling music. Singles continued to be produced in the UK and Australia but have declined since the mid first decade of the 21st century.
Dance music, however, has followed a different commercial pattern, and the single, especially the 12-inch vinyl single, remains a major method by which dance music is distributed.
As of 2006 the single seems to be undergoing something of a revival. Commercial music download sites reportedly sell mostly single tracks rather than whole albums, and the increase in popularity seems to have rubbed off on physical formats. Portable audio players, which make it extremely easy to load and play songs from many different artists, are claimed to be a major factor behind this trend.
A related development has been the popularity of mobile phone ringtones based on pop singles (on some modern phones, the actual single can be used as a ringtone). In September 2007, Sony BMG announced they would introduce a new type of CD single, called "ringles", for the 2007 holiday season. The format included three songs by an artist, plus a ringtone accessible from the user's computer. Sony announced plans to release 50 ringles in October and November, while Universal Music Group expected to release somewhere between 10 and 20 titles.
In a reversal of this trend, a single has been released based on a ringtone itself. The Crazy Frog ringtone, which was a cult hit in Europe in 2004, was released as a mashup with Axel F in June 2005 amid a massive publicity campaign and subsequently hit #1 on the UK charts.

 
 

 




 

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