サハリン・コルサコフ港を望む(View point at Korsakov Port, Sakhalin, Russia)
昔、日本領であった樺太・大泊港をロシア人ガイドの方と一緒に見ています。
Korsakov, Russia
Getting tendered in and onto "rustic" bus for a tour to see war memorials, a cathedral, and a mall.
Music: Let It Go by Fossil Collective
Top rated Tourist Attractions in Korsakov, Russia | 2020
Read the most up to date list here:
Korsakov or Korsakoff may refer to:
Discover best places in a city you are visiting.
The rating information was taken from Google Maps and the list was last updated on 24th December, 2019:
1: Vodopad Salyut
2: Gorodskoy Park Kul'tury I Otdykha Im. Yu. Gagarina
3: Ploshchad' Slavy
4: Cape giant
5: Voskresenskiy Sobor
6: Lenin Square
Click on a link below to see the most up to date places and other cities:
Russia: Dalniy Vostok survivors arrive at Korsakov port in Sakhalin
Two ships involved in the rescue operation of the sunken Dalniy Vostok fishing trawler, the Andromeda and the Spravedlivyi, arrived at the port of Korsakov in Sakhalin, Tuesday, carrying survivors and bodies from the tragic incident. The surviving sailors were greeted by their relatives, EMERCOM personnel, and psychologists at the port.
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【K】Russia Travel-Korsakov[러시아 여행-코르사코프]망향의 탑/Sakhalin/Stela/Monument to Koreans/War
■ KBS 걸어서 세계속으로 PD들이 직접 만든 해외여행전문 유투브 채널 【Everywhere, K】
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[한국어 정보]
아픈 역사의 소용돌이 속에 살아왔던 사할린 한인들. 2차 세계대전이 끝나고 일본인들처럼 송환을 기다렸지만 일본인이 아니라는 이유로 떠날 수 없었다. 사할린의 가장 큰 항구인, 코르사코프에서 조국으로 데려다 줄 귀국선을 하염없이 기다렸던 곳은 망향의 언덕이 됐다. 그 망향의 언덕에서 기다리다 지쳐 비관하며 자살하는 사람도 정신 이상이 된 사람도 있었다고 한다. 이제는 그리던 조국으로 돌아갔지만 자식들과 떨어져 또 다시 이산가족이 된 한인 동포들. 4만 여명의 사할린 동포들의 아픔이 지금도 계속되고 있다.
[English: Google Translator]
The Sakhalin Korean people who have lived in the vortex of painful history. After World War II, I waited for repatriation like the Japanese, but I could not leave because it was not Japanese. The largest port in Sakhalin, Korsakov, has been a hillside for a long time, waiting for the return of the country to take it home. It was said that some people who were tired of waiting on the hill of the mysterious pit and suicide became psychic. Korean Americans who have returned to their home country but have separated from their children and become separated families. The pain of about 40,000 Sakhalin Koreans is still continuing.
[Russia:Google Translator]
Сахалинские корейцы, которые жили в водовороте болезненной истории. После Второй мировой войны я ждал репатриации, как японцы, но я не мог уехать, потому что это был не японец. Крупнейший на Сахалине порт Корсаков долгое время находился на склоне холма, ожидая возвращения страны, чтобы забрать его домой. Говорят, что некоторые люди, которые устали ждать на горе таинственной ямы и самоубийства, стали экстрасенсами. Корейские американцы, которые вернулись на родину, но разлучились со своими детьми и стали разделенными семьями. Боль около 40 000 сахалинских корейцев все еще продолжается.
[Information]
■클립명: 유럽082-러시아13-17 귀국선을 기다렸던 언덕에 새워진 망향의 탑
■여행, 촬영, 편집, 원고: 홍은희 PD (travel, filming, editing, writing: KBS TV Producer)
■촬영일자: 2019년 1월January
[Keywords]
섬,island,cliff,탑,tower,구조물,structure,유럽Europe러시아RussiaРоссийская ФедерацияRussian Federation홍은희20191월사할린주Sakhalin OblastСахали́нская о́бластьJanuary걸어서 세계속으로
A journey through time
On the Japanse ferry from Wakkanai on Hokkaido to the Russian island Sachalin and further to the Russian mainland into Siberia. A journey between two worlds ... very special
Sergey Korsakov: Contemporary Circus in Russia
Sergey Korsakov, the Tyran of Cardbordia, about the Contemporary Circus Scene in Russia, the biggest challenges at the moment and what politics could do to help.
サハリンを散歩してる気分になる動画
ただ風景が動くだけだとつまんないと思うので、歌も歌いました。
※これ実際に現地で歌いながら撮影してるんですが、ロシアの人は何事もないように通り過ぎていきます。
ロシア人って不思議。
Mv.Penguin 33 - from korsakov shakalin russia to wakkanai japan.
Shostakovich - Symphonies No.5,6,7,8,10,11,12,15 + Presentation (Century's rec. : Yevgeny Mravinsky)
Dmitri Dmitriyevich Shostakovich / Дмитрий Дмитриевич Шостакович (1906-1975) The Symphonies - Song of the Forests conduct by the legendary Yevgeny MRAVINSKY / NEW MASTERING
Click to activate the English subtitles for the presentation (00:00-04:05)
Symphony No.12 ‘’Year 1917’’ in D minor, Op.112
Dedicated to the memory of V.Lenin
I.Revolutionary Petrograd. Moderato. Allegro (00:00)
II.Razliv. Allegro. Adagio (11:35)
III.The Cruiser ‘’Aurora’’. Allegro (22:59)
IV.The dawn of Mankind. Allegro. Allegretto (27:24)
Recorded in 1961
Symphony No.11 ‘’Year 1905’’ in G minor, Op.103
I.Palace Square. Adagio (37:07)
II.The Ninth of January. Allegro (52:38)
III.Eternal Memory. Adagio (1:11:05)
IV.Tocsin. Allegro (1:22:40)
Recorded in 1959
Songs of the Forests, Op.81
I.When the War terminated (1:37:24)
II.Let us clothe our Motherland with Forests (1:42:32)
III.Remembrance of the Past (1:45:27)
IV.Pioneers plant the Forest (1:51:20)
V.Komsomol peoples come forward (1:53:27)
VI.The Future Walk (1:56:39) VII.Glory (2:03:35)
The USSR State Symphonyc Orchestra and Academic Russian Choir
The Boys Choir of the Moscow Choral College
Chorus Master : Alexander Sveshnikov
Recorded in 1949
Symphony No.8 in C minor, Op.65
I.Adagio. Allegro non troppo. Allegro. Adagio (2:11:38)
II.Allegretto (2:36:14) III.Allegro non troppo (2:42:25)
IV.Largo (2:48:43)
V.Allegretto. Allegro. Adagio. Allegretto. Andante (2:58:33)
Recorded in 1961
Symphony No.7 ‘’Leningrad’’ in C Major, Op.60
Dedicated to the City of Leningrad
I.Allegretto (3:11:03)
II.Moderato - poco allegretto (3:38:01)
III.Adagio (3:48:11) IV.Allegro non troppo (4:07:13)
Recorded in 1953
Symphony No.10 in E minor, Op.93
I.Moderato (4:23:40) II.Allegro (4:46:01)
III.Allegretto (4:50:06) IV.Andante. Allegro (5:01:16)
Recorded in 1976
Symphony No.15 in A Major, Op.141
I.Allgretto (5:12:45) II.Adagio. Largo (5:20:30)
III.Allegretto (5:34:56) IV.Adagio. Allegretto (5:38:36)
Recorded in 1976
Symphony No.6 in B minor, Op.54
I.Largo (5:52:50) II.Allegro (6:08:49)
III.Presto (6:14:23)
Recorded in 1972
Symphony No.5 in D minor, Op.47
I.Moderato. Allegro non troppo/ Moderato (6:21:16)
II.Allegretto (6:36:30) III.Largo (6:41:57)
IV.Allegretto non troppo. Allegro (6:55:46)
Recorded in 1954
The Leningrad Philharmonic Orchestra
Yevgeni MRAVINSKY
Recorded in 1949-1976
New Mastering by AB in 2019 for CMRR
COMMENTAIRE COMPLET : VOIR LE PREMIER COMMENTAIRE ÉPINGLÉ
Le nom de Mravinsky est l'un des plus grands noms parmi les chefs d'orchestres du XXe siècle. Il est fort possible qu'aucun des musiciens russes présents sur le podium de chef d'orchestre n'ait jamais bénéficié d'une plus grande reconnaissance dans son pays et à l'étranger. Tout en reconnaissant l'autorité unique de Mravinsky, nous devons noter que son grand art a marqué un point culminant concernant l'école russe de direction d'orchestre. En effet, cette école a connu une évolution courte mais tumultueuse.
Une fois, en écoutant de la musique, j'ai ressenti le choc comme s'il y avait un éclair ou un coup de tonnerre. L'art devrait être choquant. Sinon, ce n'est pas de l'art. Ces mots d'Evgueni Mravinski doivent être considérés comme la devise de sa vie créative, son principal critère. La grandeur de Mravinsky réside dans le fait qu'il sert son art, la musique, au service des créateurs de musique, dans l'éventail le plus large de tâches qu'il s'est fixé et qu'il a fixé aux autres musiciens qui lui ont fait confiance, dans sa recherche continue d'idéaux et dans la perfection des approches qui contribuent à leur meilleure réalisation.
La personnalité la plus appropriée à comparer avec Mravinsky est Wilhelm Furtwängler. Les deux génies ont beaucoup en commun, à commencer (c'est un détail amusant) par leur constitution physique. Les deux artistes avaient un caractère déterminé et une volonté créatrice, tous deux ont été capables de recréer l'ensemble de la partition compliquée dans son intégrité, enfin la domination des principes éthiques a été leur principale tâche artistique. Mravinsky et son contemporain plus âgé, Furtwängler, appartenaient sans aucun doute à leur époque. Chacun était le fils de sa patrie, qui ressentait le destin de son pays et de son peuple. En même temps, chacun d'eux représentait un phénomène intemporel et sans limites, leur art appartenant au monde et à la paix, à la société et aux sociétés, à la civilisation et à l'univers..
Dmitri Shostakovich PLAYLIST (reference recordings) :
Sakhalin island. Korsakov
Diamond Princess visits Korsakov
【戦前絵葉書から】樺太大泊港栄町本通の街並 THE STREET ODOMARI, KARAFUT
昭和初期頃
（現：サハリン州コルサコフ）
楽曲は「樺太行進曲」
コルサコフと稚内の港へのそれぞれの入り方 (Russian and Japanese Port)
About two years ago, I traveld to Sakhalin, Russia, from Wakkanai, Japan by ship. I recorede the coasting method between Japan and Russia. I think it was amazing for me.
Scheherazade Mvt. 3 - Rimsky-Korsakov
Scheherezade is Rimsky-Korsakov’s musical interpretation of the Arabian tale, A Thousand and One Nights. Rarely heard as a piano duet, the leitmotifs created by Rimsky-Korsakov are beautifully expressed in this transcription.
Note: Due to our own error in setting the record levels, the original audio recording was distorted to the point of being unusable. Many thanks to Michael Troisi at 5 Lilac Studios (5Lilac.com) for his work to improve it and make these duet concert videos possible.
Rimsky-Korsakov - Fairy Tale (skazka), Op. 29
Performed by the London Symphony Orchestra, conducted by Yondani Butt.
Fairy Tale (skazka), Op. 29 by Nicolai Rimsky-Korsakov, composed in 1880-81. It is a symphonic poem based on these lines from Pushkin's prologue to Ruslan and Lyudmila: One fairy-tale I do recall, I'll tell now to one and all.
From Rimsky-Korsakov's autobiography My Musical Life, pages 245-46:
While making up the programs of the Russian Musical Society, [Eduard] Napravnik addressed an inquiry to me, as to which of my compositions I should like to hear performed at these concerts. I indicated the recently written Skazka (Fairy-tale) and gave the score to Napravnik. Shortly afterwards the latter proposed that I conduct the piece myself. I consented. At one of the earlier concerts of that season the Fairy-tale was placed on the program. I conducted. The performance would have been quite successful if the concert-master, Pikkel (then growing morbidly nervous) , had not jumped out, without any reason, at the entrance of the violins divisi towards the end of the piece and by so doing confused the other violinists. However, the violins speedily recovered, and the mistake had hardly been noticed by the audience. Save for this episode, I was pleased with the performance as well as with the piece itself, which sounded colourful and brilliant. In general Skazka undoubtedly recalls in style Snyegoorochka, as having been composed simultaneously with it.
Strange to this day hearers grasp with difficulty the true meaning of the Fairy-tale's program: they seek in it a chained up tom-cat walking around an oak tree, and all the fairy tale episodes which were jotted down by Pushkin in the prologue to his Ruslan and Lyudmila and which served as the starting point for my Fairy-tale. In his brief enumeration of the elements of the Russian fairy-tale epos that make up the stories of the miraculous tom-cat, Pushkin says
One fairy tale I do recall, I'll tell it now to one and all,
and then narrates the fairy-tale of Ruslan and Lyudmila. But I narrate my own musical fairy-tale. By my very narrating the musical fairy-tale and quoting Pushkin's prologue I show that my fairy-tale is, in the first place, Russian, and secondly, magical, as if it were one of the miraculous tom-cat's fairy-tales that I had overheard and retained in my memory. Yet I had not at all set out to depict in it all that Pushkin had jotted down in the prologue, any more than he puts all of it into his fairy-tale of Ruslan. Let everyone seek in my fairy-tale only the episodes that may appear before his imagination, but let him not insist that I include everything enumerated in Pushkin's prologue. The endeavor to discern in my fairy-tale the tom cat that had related this same fairy-tale is groundless, to say the least. The two above-quoted lines of Pushkin are printed in italics in the program of my Fairy-tale, to distinguish them from the other verses and direct thereby the auditor's attention to them. But this has been understood neither by the audiences nor the critics, who have interpreted my Skazka in all ways crooked and awry and who, in my time, as usual, of course, did not approve of it. On the whole, however, the Fairy-tale won sufficient success with the public.
RUSSIAN FREE E-VISA FOR INDIANS, st. Petersburg free e-visa for Indians. Malayalam
RUSSIAN FREE E-VISA FOR INDIANS, St.Petersburg free e-visa for Indians Malayalam.
E-visa characteristics of and conditions for issuing an e-visa
An e-visa is only issued for visits to one of the following three regions of the Russian Federation: the Far-Eastern Federal District, or Kaliningrad Oblast, or Saint-Petersburg and Leningrad Oblast. An e-visa issued for a visit to one of the three above-listed regions is not valid for visits to other regions of the Russian Federation.
An e-visa is free. Invitations, hotel booking confirmations or any other documents that confirm the purpose of your journey to the Russian Federation are not required for an e-visa. The time period for issuing an e-visa is no longer than 4 calendar days from the date of submission of the complete application.
E-visa can be used for entering and leaving the Russian Federation at the following checkpoints at the national border of the Russian Federation in the Far Eastern Federal District, Kaliningrad Oblast, Saint-Petersburg and Leningrad Oblast:
air checkpoints «Vladivostok (Knevichy Airport)», «Yuzhno-Sakhalinsk (Khomutovo Airport)», «Petropavlovsk-Kamchatsky (Yelizovo Airport)», «Blagoveschensk», «Khabarovsk (Novy Airport)», «Anadyr (Ugolny Airport)», «Kaliningrad (Khrabrovo)», «Ulan-Ude (Muhino)», «Chita (Kadala)», «Pulkovo»;
naval checkpoints «Vladivostok», «Zarubino», «Posiet», «Korsakov», «Petropavlovsk-Kamchatsky», «Kaliningrad (checkpoints in the cities of Kaliningrad, Baltiysk and Svetly)», «Vysotsk», «Big port Saint Petersburg (Marine Station)», «Passenger port Saint Petersburg»;
railroad checkpoints «Pogranichny», «Khasan», «Makhalino», «Mamonovo», «Sovetsk»;
automobile checkpoints «Poltavka», «Turiy Rog», «Bagrationovsk», «Gusev», «Mamonovo (Grzechotki)», «Mamonovo (Gronowo)», «Morskoje», «Pogranichny», «Sovetsk», «Chernyshevskoye», «Ivangorod», «Torfjanovka», «Brusnitchnoe», «Svetogorsk»;
pedestrian checkpoint «Ivangorod».
E-visa is a single-entry visa and issued for 30 calendar days from the date of its issuance. The permitted stay in the Russian Federation with an e-visa is up to 8 days starting from the date of entry, within its validity period.
The e-visa validity period and (or) the allowed period of stay under the e-visa are not subject to extension, except in cases where it is impossible to leave the territory of the Russian Federation due to medical emergency, or force-majeure circumstances, or natural hazards.
ATTENTION! The allowed period of stay in the Russian Federation of up to 8 days under an e-visa does not implythat one can stay for the entire 192 hours (24 hours multiplied by 8). The day of entry and the day of exit are counted as two days. You can use the visa calculator to determine how long you will be allowed to stay in the Russian Federation.
Just remember one simple rule: if you, for example, passed through the passport control when entering on Monday, you must pass the passport control for exit no later than the next Monday. If you entered on Tuesday, you must exit no later than the next week's Tuesday (and so on for each day of the week). In any case you must exit no later than the visa expiry date, even if your period of stay is less than 8 days. For instance, you entered on Monday and the validity period of the visa expires on Sunday: in this case, you must exit no later than Sunday.
E-visas can be of the following categories only: ordinary business visa (purpose of journey is business), ordinary tourist visa (purpose of journey is tourism), and ordinary humanitarian visa (purposes of journey are sports, cultural, scientific and technological ties). If the purpose of your journey to the Russian Federation does not correspond to any of the above, you should apply for a traditional (non electronic) visa at a diplomatic mission or consular office of the Russian Federation.
Foreign citizens who have arrived in the Russian Federation with e-visas issued for the Far-Eastern Federal District are entitled to move freely only within the territory of the constituent entity of Russian Federation (making part of the Far-Eastern Federal District) of their entry. Foreign citizens may only exit from the Russian Federation through border crossing points of the constituent entity of the Russian Federation of their entry.
Foreign citizens who have arrived in the Russian Federation with e-visas issued for Kaliningrad Oblast are entitled to move freely only within the territory of Kaliningrad Oblast. Foreign citizens may only exit from the Russian Federation through border crossing points of Kaliningrad Oblast.
Foreign citizens who have arrived in the Russian Federation with e-visas issued for Saint-Petersburg and Leningrad Oblast are entitled to move freely only within the territories of Saint Petersburg and Leningrad Oblast.
Coronado High School Symphony Orchestra: Russian Easter Festival Overture, Op. 36 Rimsky-Korsakov
The Coronado High School Symphony Orchestra, under the baton of Ida Steadman, performs Rimsky-Korsakov's Russian Easter Festival Overture, Op. 36, at the El Paso Independent School District's May 2011 Orchestra Festival at Coronado High School.
Although the inevitable critics will point out some minor flaws, I greatly enjoyed this spirited and energetic performance.
Scheherazade, Op. 35: II. The Story of Prince Kalender
Provided to YouTube by The Orchard Enterprises
Scheherazade, Op. 35: II. The Story of Prince Kalender · Radio Symphony Orchestra Ljubljana, Anton Nanut · Nikolai Rimsky-Korsakov
Greatest Russian Composers: Tchaikovsky, Borodin, Mussorgsky, Rachmaninoff, Stravinsky & More
℗ 2014 Symphonic Treasures
Released on: 2014-03-07
Music Publisher: Point Classics
Auto-generated by YouTube.
Rimsky-Korsakov: Flight of the Bumblebee (U.S. Army Band)
Flight of the Bumblebee is an orchestral interlude written by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan, composed in 1899–1900. Its composition is intended to musically evoke the seemingly chaotic and rapidly changing flying pattern of a bumblebee. Despite the piece's being a rather incidental part of the opera, it is today one of the more familiar classical works because of its frequent use in popular culture.
The piece closes Act III, Tableau 1, during which the magic Swan-Bird changes Prince Gvidon Saltanovich (the Tsar's son) into an insect so that he can fly away to visit his father (who does not know that he is alive). Although in the opera the Swan-Bird sings during the first part of the Flight, her vocal line is melodically uninvolved and easily omitted; this feature, combined with the fact that the number decisively closes the scene, made easy extraction as an orchestral concerto piece possible.
Although the Flight does not have a title in the score of the opera, its common English title translates like the Russian one (Полёт шмеля = Polyot shmelya). Incidentally, this piece does not constitute one of the movements of the orchestral suite that Rimsky-Korsakov derived from the opera for concerts.
Those familiar with the opera Tsar Saltan may recognize two leitmotifs used in the Flight, both of which are associated with Prince Gvidon from earlier in the opera. These are illustrated here in musical notation:
The music of this number recurs in modified form during the ensuing tableau (Act III, Tableau 2), at the points when the Bumblebee appears during the scene: it stings the two evil sisters on the brow, blinds Babarikha (the instigator of the plot to trick Saltan at the beginning into sending his wife away), and in general causes havoc at the end of the tableau. The readers of Alexander Pushkin's original poem, upon which this opera is based, will note that Gvidon is supposed to go on three separate trips to Saltan's kingdom, each of which requires a transformation into a different insect.
Flight of the Bumblebee is recognizable for its frantic pace when played up to tempo, with nearly uninterrupted runs of chromatic sixteenth notes. It is not so much the pitch or range of the notes that are played that challenges the musician, but simply the musician's ability to move to them quickly enough. Because of this and its complexity, it requires a great deal of skill to perform.
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