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SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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e0939d8595f7456180cb513281b69e7d
In which year did Chopin begin experiencing a serious decline in health?
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[ "1842" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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86dc9f03ef5d482e8f0b8cc8f0dd6c47
To whom did Chopin write a letter on 21 February 1842 about his agonizing pain?
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[ "Grzymała" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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1628585793524de888be1c4dc886be31
What performance was Chopin forced to decline due to his increasing ill health?
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{ "text": [ "Beethoven Seventh Symphony arrangement at Erard's" ], "char_spans": [ { "start": [ 324 ], "end": [ 372 ] } ], "token_spans": [ { "start": [ 68 ], "end": [ 74 ] } ] }
[ "Beethoven Seventh Symphony arrangement at Erard's" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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1b7e976327ef4c11aebd77ebbcb093ba
What instrument did Chopin play for Charles Hallé when the latter visited him?
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[ "piano" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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0d329d11d28b40179f8a21e1b0e36b1b
What has current day research suggested that Chopin was suffering from alongside his other illnesses?
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[ "temporal lobe epilepsy" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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ef74034f1cce4b54984442ccbce31c7d
Starting in what year did Chopin start showing evidence of very bad health?
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[ "1842" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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58f63ba72bf141fba4ed33ddf7d9215e
What second performance did Chopin have to decline to play?
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{ "text": [ "Beethoven Seventh Symphony arrangement" ], "char_spans": [ { "start": [ 324 ], "end": [ 361 ] } ], "token_spans": [ { "start": [ 68 ], "end": [ 71 ] } ] }
[ "Beethoven Seventh Symphony arrangement" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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bb9efb0c41834d3ca648b3153e999971
What specific illness does modern evidence point to Chopin having?
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{ "text": [ "temporal lobe epilepsy" ], "char_spans": [ { "start": [ 786 ], "end": [ 807 ] } ], "token_spans": [ { "start": [ 155 ], "end": [ 157 ] } ] }
[ "temporal lobe epilepsy" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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0334b9a895e5485ea0fb93bd0b308ff1
When did Chopin show signs of serious illness?
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{ "text": [ "From 1842 onwards" ], "char_spans": [ { "start": [ 0 ], "end": [ 16 ] } ], "token_spans": [ { "start": [ 0 ], "end": [ 2 ] } ] }
[ "From 1842 onwards" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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3c59f5f751de4291a283f02b667eed16
Chopin wrote in 1842 that he had to lie in bed all day because what ached so much?
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{ "text": [ "mouth and tonsils" ], "char_spans": [ { "start": [ 171 ], "end": [ 187 ] } ], "token_spans": [ { "start": [ 39 ], "end": [ 41 ] } ] }
[ "mouth and tonsils" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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7cc8e3a08c0d4f7087321dcdb0b4c2e1
Chopin had to decline who's invitation in 1843 to particpate in a performance at Erard's?
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{ "text": [ "Alkan" ], "char_spans": [ { "start": [ 272 ], "end": [ 276 ] } ], "token_spans": [ { "start": [ 59 ], "end": [ 59 ] } ] }
[ "Alkan" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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b090c034bf624803a5514e796e097d60
Who visited Chopin in 1844 and wrote about his inability to move?
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{ "text": [ "Charles Hallé" ], "char_spans": [ { "start": [ 405 ], "end": [ 417 ] } ], "token_spans": [ { "start": [ 84 ], "end": [ 85 ] } ] }
[ "Charles Hallé" ]
SQuAD
From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.
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c0386e996b4449f6a7c9da8b90679d38
Modern medicine indicates Chopin may have suffered from what condition?
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{ "text": [ "temporal lobe epilepsy." ], "char_spans": [ { "start": [ 786 ], "end": [ 808 ] } ], "token_spans": [ { "start": [ 155 ], "end": [ 158 ] } ] }
[ "temporal lobe epilepsy." ]
SQuAD
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
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b5b3d23141a745f8af6691721ded3269
Where was Chopin's funeral held?
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{ "text": [ "Church of the Madeleine" ], "char_spans": [ { "start": [ 25 ], "end": [ 47 ] } ], "token_spans": [ { "start": [ 6 ], "end": [ 9 ] } ] }
[ "Church of the Madeleine" ]
SQuAD
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
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803f5e64e5d94213b7fc3085ed66f314
How long was Chopin's funeral delayed?
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[ "two weeks" ]
SQuAD
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
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7b9d4664ddf64172bfbe4b7fcfdf5ba8
How many people arrived for Chopin's funeral?
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{ "text": [ "Over 3,000" ], "char_spans": [ { "start": [ 189 ], "end": [ 198 ] } ], "token_spans": [ { "start": [ 37 ], "end": [ 38 ] } ] }
[ "Over 3,000" ]
SQuAD
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
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91deb682e76045e9a45c34ec849f847c
Where was Chopin's funeral held?
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{ "text": [ "the Church of the Madeleine in Paris" ], "char_spans": [ { "start": [ 21 ], "end": [ 56 ] } ], "token_spans": [ { "start": [ 5 ], "end": [ 11 ] } ] }
[ "the Church of the Madeleine in Paris" ]
SQuAD
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
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dfc4dfb694e449029101e2f23e1cc693
How long was Chopin's funeral delayed?
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[ "two weeks" ]
SQuAD
The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.
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How many people arrived without an invitation?
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{ "text": [ "Over 3,000" ], "char_spans": [ { "start": [ 189 ], "end": [ 198 ] } ], "token_spans": [ { "start": [ 37 ], "end": [ 38 ] } ] }
[ "Over 3,000" ]
SQuAD
The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character.
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How many nocturnes did Chopin compose?
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{ "text": [ "21" ], "char_spans": [ { "start": [ 4 ], "end": [ 5 ] } ], "token_spans": [ { "start": [ 1 ], "end": [ 1 ] } ] }
[ "21" ]
SQuAD
The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character.
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What is it about the middle of Chopin's nocturnes that increases their drama?
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{ "text": [ "agitated expression" ], "char_spans": [ { "start": [ 177 ], "end": [ 195 ] } ], "token_spans": [ { "start": [ 35 ], "end": [ 36 ] } ] }
[ "agitated expression" ]
SQuAD
The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character.
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Chopin's nocturnes were more structured than who?
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{ "text": [ "Field" ], "char_spans": [ { "start": [ 84 ], "end": [ 88 ] } ], "token_spans": [ { "start": [ 16 ], "end": [ 16 ] } ] }
[ "Field" ]
SQuAD
The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character.
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What year did Chopin meet Field?
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{ "text": [ "1833" ], "char_spans": [ { "start": [ 110 ], "end": [ 113 ] } ], "token_spans": [ { "start": [ 22 ], "end": [ 22 ] } ] }
[ "1833" ]
SQuAD
The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character.
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46b35537a5d744a2a379fe11de00f1b5
Which type of Chopin's compositons were difficult for perfomers due to their middle sections?
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{ "text": [ "nocturnes" ], "char_spans": [ { "start": [ 7 ], "end": [ 15 ] } ], "token_spans": [ { "start": [ 2 ], "end": [ 2 ] } ] }
[ "nocturnes" ]
SQuAD
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
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Who released the first collection of Chopin's works?
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{ "text": [ "Breitkopf & Härtel" ], "char_spans": [ { "start": [ 187 ], "end": [ 204 ] } ], "token_spans": [ { "start": [ 31 ], "end": [ 33 ] } ] }
[ "Breitkopf & Härtel" ]
SQuAD
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
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ae6ca7cdb33c446f9dd938fc1656eb0e
Who edited the Polish "National Edition" of Chopin's works?
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{ "text": [ "Jan Ekier" ], "char_spans": [ { "start": [ 403 ], "end": [ 411 ] } ], "token_spans": [ { "start": [ 71 ], "end": [ 72 ] } ] }
[ "Jan Ekier" ]
SQuAD
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
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a586acfdf47846a889798b12bf0d2823
Maurice Schlesinger and Camille Pleyel were what to Chopin?
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{ "text": [ "original publishers" ], "char_spans": [ { "start": [ 9 ], "end": [ 27 ] } ], "token_spans": [ { "start": [ 2 ], "end": [ 3 ] } ] }
[ "original publishers" ]
SQuAD
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
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1dab7d863b2a4c93b1e75e11e248dcac
Where did Chopin's work start t oshow up?
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{ "text": [ "popular 19th-century piano anthologies." ], "char_spans": [ { "start": [ 112 ], "end": [ 150 ] } ], "token_spans": [ { "start": [ 18 ], "end": [ 24 ] } ] }
[ "popular 19th-century piano anthologies." ]
SQuAD
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
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fa8ae134b28e482ca0347d2793615019
What was the name under scholarly publications of Chopin's work form 1937 to 1966?
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{ "text": [ "Paderewski" ], "char_spans": [ { "start": [ 303 ], "end": [ 312 ] } ], "token_spans": [ { "start": [ 53 ], "end": [ 53 ] } ] }
[ "Paderewski" ]
SQuAD
Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.
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f02897183ff4491e9edf49bc869ee60c
Who edited the Polish National Edition?
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{ "text": [ "Jan Ekier" ], "char_spans": [ { "start": [ 403 ], "end": [ 411 ] } ], "token_spans": [ { "start": [ 71 ], "end": [ 72 ] } ] }
[ "Jan Ekier" ]
SQuAD
Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique.
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2768a4b502604ff1ae12e8ab8050d79b
What time are Chopin's polonaises written in?
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{ "text": [ "triple time" ], "char_spans": [ { "start": [ 193 ], "end": [ 203 ] } ], "token_spans": [ { "start": [ 37 ], "end": [ 38 ] } ] }
[ "triple time" ]
SQuAD
Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique.
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1181f27dc91c45a5a64af9bc63ebf35b
Chopin's ability to create an advanced polonasises surpassed even two of his teachers, Zywny and who?
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{ "text": [ "Elsner" ], "char_spans": [ { "start": [ 127 ], "end": [ 132 ] } ], "token_spans": [ { "start": [ 23 ], "end": [ 23 ] } ] }
[ "Elsner" ]
SQuAD
Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique.
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0654e7af5d7a43fcbd4d7751cce33941
Chopin's polonaise often have what kind of rhythm in their melodies?
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{ "text": [ "martial" ], "char_spans": [ { "start": [ 229 ], "end": [ 235 ] } ], "token_spans": [ { "start": [ 43 ], "end": [ 43 ] } ] }
[ "martial" ]
SQuAD
Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique.
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293d007ec67a4a0b8ad25a717f4b71ea
Chopin's polonaises needed what kind of playing technique?
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{ "text": [ "formidable" ], "char_spans": [ { "start": [ 345 ], "end": [ 354 ] } ], "token_spans": [ { "start": [ 63 ], "end": [ 63 ] } ] }
[ "formidable" ]
SQuAD
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.
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ceb5d575665346c18398870081357b92
Chopin's mazurkas contain more of what than his other compositions?
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{ "text": [ "folk features" ], "char_spans": [ { "start": [ 135 ], "end": [ 147 ] } ], "token_spans": [ { "start": [ 24 ], "end": [ 25 ] } ] }
[ "folk features" ]
SQuAD
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.
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75a9c278ce544e85850f3b6d6f5c52d3
What form are Chopin's mazurkas and waltzes in?
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{ "text": [ "straightforward ternary or episodic form, sometimes with a coda." ], "char_spans": [ { "start": [ 41 ], "end": [ 104 ] } ], "token_spans": [ { "start": [ 8 ], "end": [ 18 ] } ] }
[ "straightforward ternary or episodic form, sometimes with a coda." ]
SQuAD
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.
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31434bfb94ee4ccb8ccfac767731a5fd
Which of Chopin's works shows more folk aspects?
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{ "text": [ "mazurkas" ], "char_spans": [ { "start": [ 9 ], "end": [ 16 ] } ], "token_spans": [ { "start": [ 2 ], "end": [ 2 ] } ] }
[ "mazurkas" ]
SQuAD
Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.
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f4b304d21ffa4592a0b6fc42f93e9b26
What does Chopin's Op. 63 No. 3 have that is rare?
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{ "text": [ "a canon at one beat's distance" ], "char_spans": [ { "start": [ 344 ], "end": [ 373 ] } ], "token_spans": [ { "start": [ 65 ], "end": [ 71 ] } ] }
[ "a canon at one beat's distance" ]
SQuAD
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
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5f3eb974ff4b42c1aa9c65a7d37f90ce
What was the last number Chopin gave to an opus?
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{ "text": [ "65" ], "char_spans": [ { "start": [ 50 ], "end": [ 51 ] } ], "token_spans": [ { "start": [ 9 ], "end": [ 9 ] } ] }
[ "65" ]
SQuAD
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
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e2d85847718946ffbee6cdab8268acd9
Who was Chopin's musical executor?
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{ "text": [ "Julian Fontana" ], "char_spans": [ { "start": [ 259 ], "end": [ 272 ] } ], "token_spans": [ { "start": [ 49 ], "end": [ 50 ] } ] }
[ "Julian Fontana" ]
SQuAD
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
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171f1c0dc9ed465286c65bfe7b15ea58
How many unfinished pieces did Julian Fontana make into eight more opus numbers?
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{ "text": [ "23" ], "char_spans": [ { "start": [ 283 ], "end": [ 284 ] } ], "token_spans": [ { "start": [ 52 ], "end": [ 52 ] } ] }
[ "23" ]
SQuAD
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
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2d1bcba6a48d4b5d8cfa1b9690d86c09
Op. 74 is made up of how many Polish songs?
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{ "text": [ "17" ], "char_spans": [ { "start": [ 402 ], "end": [ 403 ] } ], "token_spans": [ { "start": [ 77 ], "end": [ 77 ] } ] }
[ "17" ]
SQuAD
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
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5b2c074384ff49cd986ffc22b70ebbc7
What is the last opus number that Chopin used?
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{ "text": [ "65" ], "char_spans": [ { "start": [ 50 ], "end": [ 51 ] } ], "token_spans": [ { "start": [ 9 ], "end": [ 9 ] } ] }
[ "65" ]
SQuAD
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
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17379a1cda624be89291b0d9176a058e
Who grouped 23 unpublished pieces and published them as Opp. 66-73 in 1855?
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{ "text": [ "Julian Fontana" ], "char_spans": [ { "start": [ 259 ], "end": [ 272 ] } ], "token_spans": [ { "start": [ 49 ], "end": [ 50 ] } ] }
[ "Julian Fontana" ]
SQuAD
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.
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d082e108123442e9991595efbd671672
When was Op. 74 published?
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{ "text": [ "1857" ], "char_spans": [ { "start": [ 396 ], "end": [ 399 ] } ], "token_spans": [ { "start": [ 75 ], "end": [ 75 ] } ] }
[ "1857" ]
SQuAD
In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet.
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d8e595dc9dd3437abc14b893b93b81d8
Which ruler took Western Xia under their control?
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{ "text": [ "Genghis Khan" ], "char_spans": [ { "start": [ 26 ], "end": [ 37 ] } ], "token_spans": [ { "start": [ 6 ], "end": [ 7 ] } ] }
[ "Genghis Khan" ]
SQuAD
In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet.
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6050d55b57ae49d19d42b1fc80d41076
Who was Genghis Khan's successor?
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{ "text": [ "Ögedei Khan" ], "char_spans": [ { "start": [ 407 ], "end": [ 417 ] } ], "token_spans": [ { "start": [ 78 ], "end": [ 79 ] } ] }
[ "Ögedei Khan" ]
SQuAD
In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet.
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4396ccbea87b421c97ef0659c5f680bc
What years did Ögedei Khan rule?
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{ "text": [ "1229–1241" ], "char_spans": [ { "start": [ 423 ], "end": [ 431 ] } ], "token_spans": [ { "start": [ 82 ], "end": [ 82 ] } ] }
[ "1229–1241" ]
SQuAD
In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet.
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1a085b373a4a4d7fadf61ebba816b71e
Who invaded Tibet?
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{ "text": [ "Ögedei Khan" ], "char_spans": [ { "start": [ 407 ], "end": [ 417 ] } ], "token_spans": [ { "start": [ 78 ], "end": [ 79 ] } ] }
[ "Ögedei Khan" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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305467ab54974515a5774a9a4a0f36f1
What was the name of Sand's daughter's fiance that contributed to deteriorating the relationship between Sand and Chopin?
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{ "text": [ "Auguste Clésinger" ], "char_spans": [ { "start": [ 149 ], "end": [ 165 ] } ], "token_spans": [ { "start": [ 26 ], "end": [ 27 ] } ] }
[ "Auguste Clésinger" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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1ab709eb2d4a4bcbba759969de78ad9b
What was the interest Sand had that Chopin showed apathy towards?
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{ "text": [ "radical political pursuits" ], "char_spans": [ { "start": [ 330 ], "end": [ 355 ] } ], "token_spans": [ { "start": [ 59 ], "end": [ 61 ] } ] }
[ "radical political pursuits" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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283129529f534fb792502172c325d5ad
What did Sand begin referring to Chopin as as his illness got worse?
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{ "text": [ "third child" ], "char_spans": [ { "start": [ 535 ], "end": [ 545 ] } ], "token_spans": [ { "start": [ 100 ], "end": [ 101 ] } ] }
[ "third child" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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368bb79e93c54367872b778b6085da27
What was the name of Sand's novel she published in reference to her situation with Chopin?
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{ "text": [ "Lucrezia Floriani" ], "char_spans": [ { "start": [ 731 ], "end": [ 747 ] } ], "token_spans": [ { "start": [ 148 ], "end": [ 149 ] } ] }
[ "Lucrezia Floriani" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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631f4266152c4eb7b1d96caee2099f90
In what year did Chopin and Sand ultimately bring their relationship to a close?
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{ "text": [ "1847" ], "char_spans": [ { "start": [ 701 ], "end": [ 704 ] } ], "token_spans": [ { "start": [ 143 ], "end": [ 143 ] } ] }
[ "1847" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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62b5424487614637b98d1cfbef424691
When did Chopin's relationship with Sand start to deteriorate?
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{ "text": [ "1846" ], "char_spans": [ { "start": [ 44 ], "end": [ 47 ] } ], "token_spans": [ { "start": [ 8 ], "end": [ 8 ] } ] }
[ "1846" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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ed13cb0790504fceabb35ed280e3e468
Whom did Sand's daughter Solange become engaged to?
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{ "text": [ "Auguste Clésinger" ], "char_spans": [ { "start": [ 149 ], "end": [ 165 ] } ], "token_spans": [ { "start": [ 26 ], "end": [ 27 ] } ] }
[ "Auguste Clésinger" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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d6aef9d56e084d48ad776d2667cd894e
What novel did Sand write in 1847?
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{ "text": [ "Lucrezia Floriani" ], "char_spans": [ { "start": [ 731 ], "end": [ 747 ] } ], "token_spans": [ { "start": [ 148 ], "end": [ 149 ] } ] }
[ "Lucrezia Floriani" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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877b286735c042ac910f59d8981bfbce
Who was the fortune hunter engaged to Sand's daughter?
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{ "text": [ "Auguste Clésinger." ], "char_spans": [ { "start": [ 149 ], "end": [ 166 ] } ], "token_spans": [ { "start": [ 26 ], "end": [ 28 ] } ] }
[ "Auguste Clésinger." ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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3f5bb7a70ed54e9180a291f878066a86
What role did Sand take on as her relationship with Chopin progressed?
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{ "text": [ "nurse" ], "char_spans": [ { "start": [ 497 ], "end": [ 501 ] } ], "token_spans": [ { "start": [ 91 ], "end": [ 91 ] } ] }
[ "nurse" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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e382536b03ea4b168092ae46c6643bb9
What was the name of Sand's book where the main characters can be interpreted as Sand and Chopin?
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{ "text": [ "Lucrezia Floriani" ], "char_spans": [ { "start": [ 731 ], "end": [ 747 ] } ], "token_spans": [ { "start": [ 148 ], "end": [ 149 ] } ] }
[ "Lucrezia Floriani" ]
SQuAD
Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
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43c2ea8f89584742a3b10d56d0067d41
When did Chopin end his relationship with Sand?
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{ "text": [ "1847" ], "char_spans": [ { "start": [ 701 ], "end": [ 704 ] } ], "token_spans": [ { "start": [ 143 ], "end": [ 143 ] } ] }
[ "1847" ]
SQuAD
The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5.
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fd01765154c6427895237f2bf9a7a7be
What piece of Bach's did Chopin take inspiration for his preludes?
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{ "text": [ "The Well-Tempered Clavier" ], "char_spans": [ { "start": [ 211 ], "end": [ 235 ] } ], "token_spans": [ { "start": [ 42 ], "end": [ 46 ] } ] }
[ "The Well-Tempered Clavier" ]
SQuAD
The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5.
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7e2215f189254d959abdce4eb5795031
Who suggested that Chopin's preludes were not intended to be played as a group?
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{ "text": [ "Kenneth Hamilton" ], "char_spans": [ { "start": [ 588 ], "end": [ 603 ] } ], "token_spans": [ { "start": [ 119 ], "end": [ 120 ] } ] }
[ "Kenneth Hamilton" ]
SQuAD
The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5.
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2c194c18259f411385035e73bdafd723
What was described as "the beginning of studies" by Schumann?
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{ "text": [ "The preludes" ], "char_spans": [ { "start": [ 389, 4, 514, 247 ], "end": [ 396, 11, 521, 254 ] } ], "token_spans": [ { "start": [ 78, 1, 103, 50 ], "end": [ 78, 1, 103, 50 ] } ] }
[ "The preludes" ]
SQuAD
The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5.
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dbfc49e05d1d4fc8945cd591f9253fba
What inspired Chopin for his preludes?
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{ "text": [ "J.S. Bach's The Well-Tempered Clavier" ], "char_spans": [ { "start": [ 199 ], "end": [ 235 ] } ], "token_spans": [ { "start": [ 39 ], "end": [ 46 ] } ] }
[ "J.S. Bach's The Well-Tempered Clavier" ]
SQuAD
The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5.
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0985df2dbf6e4082ad420a165cbb6cb4
Kenneth Hamilton suggests that the preludes may not have been meant as a group but rather as what?
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{ "text": [ "generic preludes to others of his pieces" ], "char_spans": [ { "start": [ 506 ], "end": [ 545 ] } ], "token_spans": [ { "start": [ 102 ], "end": [ 108 ] } ] }
[ "generic preludes to others of his pieces" ]
SQuAD
The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5.
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1aa9eebb9c534ad98ee21f8615ef56c6
Who did a recording where Étude Op. 10 No. 5. follows relude Op. 28 No. 7?
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{ "text": [ "Ferruccio Busoni" ], "char_spans": [ { "start": [ 643 ], "end": [ 658 ] } ], "token_spans": [ { "start": [ 129 ], "end": [ 130 ] } ] }
[ "Ferruccio Busoni" ]
SQuAD
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
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2202ae846651442da1a75e28788d3d7f
How many polonaises were published while Chopin lived?
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{ "text": [ "seven" ], "char_spans": [ { "start": [ 363 ], "end": [ 367 ] } ], "token_spans": [ { "start": [ 69 ], "end": [ 69 ] } ] }
[ "seven" ]
SQuAD
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
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c5867e1f2c3e446a8a8ec7f4f89ff7e2
How many polonaises were published after Chopin died?
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[ "nine" ]
SQuAD
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
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0264dfeb7cc645d1ae7eb6cd79014db0
Chopin was credited for making what more internationally known?
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{ "text": [ "mazurkas" ], "char_spans": [ { "start": [ 96 ], "end": [ 103 ] } ], "token_spans": [ { "start": [ 17 ], "end": [ 17 ] } ] }
[ "mazurkas" ]
SQuAD
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
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9db8da7ae1e2490fbe04c52befe7f05e
What is different about Chopin's waltzes versus a ballroom waltz?
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{ "text": [ "faster tempos" ], "char_spans": [ { "start": [ 660 ], "end": [ 672 ] } ], "token_spans": [ { "start": [ 124 ], "end": [ 125 ] } ] }
[ "faster tempos" ]
SQuAD
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
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0c59f3b99591496b8b433578a6ad788a
What did Chopin add to the modern dance of his era?
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{ "text": [ "greater range of melody and expression." ], "char_spans": [ { "start": [ 47 ], "end": [ 85 ] } ], "token_spans": [ { "start": [ 8 ], "end": [ 14 ] } ] }
[ "greater range of melody and expression." ]
SQuAD
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
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8e43160b88b747d7a08852d9cb9e44d3
Chopin's Polish dance music was developed for what type of hall?
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{ "text": [ "concert hall" ], "char_spans": [ { "start": [ 243 ], "end": [ 254 ] } ], "token_spans": [ { "start": [ 43 ], "end": [ 44 ] } ] }
[ "concert hall" ]
SQuAD
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
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b1609f6050cf4099a5d318d9d9847c77
What was Chopin responsible for making popular with Euorpeans?
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{ "text": [ "the mazurka" ], "char_spans": [ { "start": [ 307 ], "end": [ 317 ] } ], "token_spans": [ { "start": [ 57 ], "end": [ 58 ] } ] }
[ "the mazurka" ]
SQuAD
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
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e5220fdb5e0a49efbbcd6a396b428d50
How many Chopin polonaises were published after his death?
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{ "text": [ "nine" ], "char_spans": [ { "start": [ 415 ], "end": [ 418 ] } ], "token_spans": [ { "start": [ 77 ], "end": [ 77 ] } ] }
[ "nine" ]
SQuAD
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
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269606611f204dfab46717e57eaf20d8
What dance music of Chopin was written more for recitals than ballrooms?
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{ "text": [ "waltzes" ], "char_spans": [ { "start": [ 545 ], "end": [ 551 ] } ], "token_spans": [ { "start": [ 106 ], "end": [ 106 ] } ] }
[ "waltzes" ]
SQuAD
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.
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05ac390039154f9f95b361d671b71cf4
Where did Chopin stay while in London?
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{ "text": [ "Dover Street" ], "char_spans": [ { "start": [ 34 ], "end": [ 45 ] } ], "token_spans": [ { "start": [ 6 ], "end": [ 7 ] } ] }
[ "Dover Street" ]
SQuAD
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.
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2ea9243f6a6c4bc6946359e7e4e77e80
What company provided Chopin with a piano while in London?
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{ "text": [ "Broadwood" ], "char_spans": [ { "start": [ 66 ], "end": [ 74 ] } ], "token_spans": [ { "start": [ 13 ], "end": [ 13 ] } ] }
[ "Broadwood" ]
SQuAD
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.
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4bf7698065354c53a4ffa31b6befbf4e
Where was Chopin's initial performance?
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[ "Stafford House" ]
SQuAD
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.
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69cc86387e0e48bfbedf75adc301eeb2
What two notable guests were present during his premiere performance at Stafford House?
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{ "text": [ "Queen Victoria and Prince Albert" ], "char_spans": [ { "start": [ 185 ], "end": [ 216 ] } ], "token_spans": [ { "start": [ 36 ], "end": [ 40 ] } ] }
[ "Queen Victoria and Prince Albert" ]
SQuAD
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.
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40efca0f88694fba9d5d413e966fb821
What date did he perform with Viardot?
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{ "text": [ "7 July" ], "char_spans": [ { "start": [ 647 ], "end": [ 652 ] } ], "token_spans": [ { "start": [ 127 ], "end": [ 128 ] } ] }
[ "7 July" ]
SQuAD
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.
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cf520f4338674778ac5c45ce520db847
What steet did Chopin stay on in London?
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{ "text": [ "Dover Street" ], "char_spans": [ { "start": [ 34 ], "end": [ 45 ] } ], "token_spans": [ { "start": [ 6 ], "end": [ 7 ] } ] }
[ "Dover Street" ]
SQuAD
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.
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0c0edef0d4b04941be38ff9da99b8423
What did Broadway provide for Chopin?
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{ "text": [ "a grand piano." ], "char_spans": [ { "start": [ 94 ], "end": [ 107 ] } ], "token_spans": [ { "start": [ 17 ], "end": [ 20 ] } ] }
[ "a grand piano." ]
SQuAD
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.
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3eb16a5d6b5d4b4391a9caa63c75a953
What two dignitaries where at his first performance in London?
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{ "text": [ "Queen Victoria and Prince Albert." ], "char_spans": [ { "start": [ 185 ], "end": [ 217 ] } ], "token_spans": [ { "start": [ 36 ], "end": [ 41 ] } ] }
[ "Queen Victoria and Prince Albert." ]
SQuAD
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.
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93512dcc954d4aa8b121a45bbc89eb47
In addition to hearing him play, what else did people seek from Chopin in London?
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{ "text": [ "piano lessons" ], "char_spans": [ { "start": [ 463 ], "end": [ 475 ] } ], "token_spans": [ { "start": [ 87 ], "end": [ 88 ] } ] }
[ "piano lessons" ]
SQuAD
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.
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f8f05fb82b7a46c1a130d11fe5c92d05
Who sang chopin arrangements on July 7 of the year Chopin was in London?
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[ "Viardot" ]
SQuAD
In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands.
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14c140ee19d84c8985987e9adf9c93e8
What was Chopin's style based upon?
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{ "text": [ "independent finger technique" ], "char_spans": [ { "start": [ 523 ], "end": [ 550 ] } ], "token_spans": [ { "start": [ 103 ], "end": [ 105 ] } ] }
[ "independent finger technique" ]
SQuAD
In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands.
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b76b09c204eb452d8e06b2727aa26a55
Who wrote about a Chopin 1841 recital?
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{ "text": [ "Léon Escudier" ], "char_spans": [ { "start": [ 9 ], "end": [ 21 ] } ], "token_spans": [ { "start": [ 3 ], "end": [ 4 ] } ] }
[ "Léon Escudier" ]
SQuAD
In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands.
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9ac946f2ac4441fe8761111c1fb3b3ba
What writing of Chopin talks about everything about piano playing has to do with proper fingering?
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{ "text": [ "his Projet de méthode" ], "char_spans": [ { "start": [ 556 ], "end": [ 576 ] } ], "token_spans": [ { "start": [ 108 ], "end": [ 111 ] } ] }
[ "his Projet de méthode" ]
SQuAD
Chopin's harmonic innovations may have arisen partly from his keyboard improvisation technique. Temperley says that in his works "novel harmonic effects frequently result from the combination of ordinary appoggiaturas or passing notes with melodic figures of accompaniment", and cadences are delayed by the use of chords outside the home key (neapolitan sixths and diminished sevenths), or by sudden shifts to remote keys. Chord progressions sometimes anticipate the shifting tonality of later composers such as Claude Debussy, as does Chopin's use of modal harmony.
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f1fa37cfa85a4a009e13c4f534b2d691
Chopin's chord progressions are similar in style to what other composer?
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{ "text": [ "Claude Debussy" ], "char_spans": [ { "start": [ 512 ], "end": [ 525 ] } ], "token_spans": [ { "start": [ 83 ], "end": [ 84 ] } ] }
[ "Claude Debussy" ]
SQuAD
Chopin's harmonic innovations may have arisen partly from his keyboard improvisation technique. Temperley says that in his works "novel harmonic effects frequently result from the combination of ordinary appoggiaturas or passing notes with melodic figures of accompaniment", and cadences are delayed by the use of chords outside the home key (neapolitan sixths and diminished sevenths), or by sudden shifts to remote keys. Chord progressions sometimes anticipate the shifting tonality of later composers such as Claude Debussy, as does Chopin's use of modal harmony.
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What likely arose due to Chopin's technique with keyboards?
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[ "harmonic innovations" ]
SQuAD
Chopin's harmonic innovations may have arisen partly from his keyboard improvisation technique. Temperley says that in his works "novel harmonic effects frequently result from the combination of ordinary appoggiaturas or passing notes with melodic figures of accompaniment", and cadences are delayed by the use of chords outside the home key (neapolitan sixths and diminished sevenths), or by sudden shifts to remote keys. Chord progressions sometimes anticipate the shifting tonality of later composers such as Claude Debussy, as does Chopin's use of modal harmony.
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258234ae7a8a46d3a4809ad883a27f41
Who wrote about Chopin's "novel harmonic effects"?
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[ "Temperley" ]
SQuAD
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
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0226ebdb400e4f4a92cb1992ec2e450b
What is central to Chopin's process?
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[ "Improvisation" ]
SQuAD
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
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2b8c76aaa8814308b99afe71db0e9c67
Rosen suggests that a central part of Chopin's uniqueness is how he handles what?
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{ "text": [ "the four-bar phrase" ], "char_spans": [ { "start": [ 879 ], "end": [ 897 ] } ], "token_spans": [ { "start": [ 162 ], "end": [ 166 ] } ] }
[ "the four-bar phrase" ]
SQuAD
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
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7124b5f917a04927b2b7bb60baa22415
What is central to Chopin's creativeness?
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[ "Improvisation" ]
SQuAD
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
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78f6f0617d3b41d0a975e063d3034ae6
Who wrote that "improvisation is designed for an audience"?
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{ "text": [ "Nicholas Temperley" ], "char_spans": [ { "start": [ 116 ], "end": [ 133 ] } ], "token_spans": [ { "start": [ 20 ], "end": [ 21 ] } ] }
[ "Nicholas Temperley" ]
SQuAD
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.
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What did Rosen suggest was important about chopin's personality?
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{ "text": [ "his flexible handling of the four-bar phrase as a structural unit." ], "char_spans": [ { "start": [ 854 ], "end": [ 919 ] } ], "token_spans": [ { "start": [ 158 ], "end": [ 171 ] } ] }
[ "his flexible handling of the four-bar phrase as a structural unit." ]
SQuAD
Hans Bielenstein writes that as far back as the Han dynasty (202 BCE–220 CE), the Han Chinese government "maintained the fiction" that the foreign officials administering the various "Dependent States" and oasis city-states of the Western Regions (composed of the Tarim Basin and oasis of Turpan) were true Han representatives due to the Han government's conferral of Chinese seals and seal cords to them.
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What was the western regions composed of?
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{ "text": [ "the Tarim Basin and oasis of Turpan" ], "char_spans": [ { "start": [ 260 ], "end": [ 294 ] } ], "token_spans": [ { "start": [ 49 ], "end": [ 55 ] } ] }
[ "the Tarim Basin and oasis of Turpan" ]
SQuAD
Hans Bielenstein writes that as far back as the Han dynasty (202 BCE–220 CE), the Han Chinese government "maintained the fiction" that the foreign officials administering the various "Dependent States" and oasis city-states of the Western Regions (composed of the Tarim Basin and oasis of Turpan) were true Han representatives due to the Han government's conferral of Chinese seals and seal cords to them.
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Who believed that they were the true Han Western representatives?
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[ "foreign officials" ]
SQuAD
Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."
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Who wrote that the current large concert style conflicts with Chopin's preference of intimate performances?
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[ "Jonathan Bellman" ]