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values | qid stringlengths 32 32 | question stringlengths 2 630 | answers list | masked_query stringlengths 2 613 | context stringlengths 209 2.35k | answer_sent stringlengths 2 1.69k | answer_in_context list | query_embedding list | entity stringclasses 18
values | similar_entity stringlengths 1 122 | similar_entity_score float32 0.23 1 | random_entity stringlengths 1 154 | random_entity_score float64 -0.41 1 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
SQuAD | b9c6bd37e96f4b518b06f3a2eb76e11a | When did Ulrich do his sonnet on Chopin? | [
"1830"
] | When did [MASK] do his sonnet on [MASK]? | Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also... | The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. | [
"1830"
] | [
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-0.065342202... | DATE | 1783 1783 | 0.872422 | June 29 , 1974 | 0.350464 |
SQuAD | 70000d96e94c411dbf4a7ec2a465de09 | In addition to Polish and French, what other language has numerous biogrpahies of Chopin? | [
"English"
] | In addition to [MASK] and [MASK], what other language has numerous biogrpahies of [MASK]? | Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also... | There are numerous biographies of Chopin in English (see bibliography for some of these). | [
"English"
] | [
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-0.0762931853532791... | LANGUAGE | Spanglish | 0.799073 | Illyrian | 0.381732 |
SQuAD | accf7755549a465699729753dbe3f1fd | When did Chopin receive his last Conservatory report? | [
"July 1829"
] | When did [MASK] receive his last [MASK] report? | He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced... | His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius." | [
"July 1829"
] | [
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0.0064370860... | DATE | April 1834 | 0.982253 | 9 February 1959 | 0.633171 |
SQuAD | ace97fe1ff6846509080da93b992382c | What year was the earliest Chopin recording created? | [
"1895"
] | What year was the earliest [MASK] recording created? | The British Library notes that "Chopin's works have been recorded by all the great pianists of the recording era." The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. 62 No. 2. The British Library site makes available a number of historic recordings, including some by Alfred Cort... | The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. | [
"1895"
] | [
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0.125883713... | DATE | circa 1905 | 0.861919 | 17 hours , 58 minutes | 0.219059 |
SQuAD | 98a345573bc545458388cf9c3a9ea278 | Who played the earlier known recording of Chopin's work? | [
"Paul Pabst"
] | Who played the earlier known recording of [MASK] 's work? | The British Library notes that "Chopin's works have been recorded by all the great pianists of the recording era." The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. 62 No. 2. The British Library site makes available a number of historic recordings, including some by Alfred Cort... | The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. | [
"Paul Pabst"
] | [
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-0.0777618139... | PERSON | Paul Methric | 0.966572 | Michelle LaVaughn Robinson | 0.563586 |
SQuAD | 652ec54526a64d4b80f5fb147b748de4 | What has stated that every pianist in the recording era has used Chopin's music? | [
"The British Library"
] | What has stated that every pianist in the recording era has used [MASK] 's music? | The British Library notes that "Chopin's works have been recorded by all the great pianists of the recording era." The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. 62 No. 2. The British Library site makes available a number of historic recordings, including some by Alfred Cort... | The British Library notes that "Chopin's works have been recorded by all the great pianists of the recording era." | [
"The British Library"
] | [
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0.1181728... | ORG | The Coquitlam Public Library | 0.889243 | Revolution | 0.506934 |
SQuAD | 51faece786b84b36ba6838ad00b3cec9 | When did Pabst record his Chopin performance? | [
"1895"
] | When did [MASK] record his [MASK] performance? | The British Library notes that "Chopin's works have been recorded by all the great pianists of the recording era." The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. 62 No. 2. The British Library site makes available a number of historic recordings, including some by Alfred Cort... | The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. | [
"1895"
] | [
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-0.383560061... | DATE | circa 1905 | 0.861919 | Thanksgiving Day , 1950 | 0.356843 |
SQuAD | 840de11cbdc04e31ae3f1f954b7c9b2b | Who has given a discography of pianists' representation of Chopin's pedagogic style? | [
"Methuen-Campbell"
] | Who has given a discography of pianists ' representation of [MASK] 's pedagogic style? | The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. 62 No. 2. The British Library site makes available a number of historic recordings, including some by Alfred Cortot, Ignaz Friedman, Vladimir Horowitz, Benno Moiseiwitsch, Paderewski, Arthur Rubinstein, Xaver Scharwenka and many... | A select discography of recordings of Chopin works by pianists representing the various pedagogic traditions stemming from Chopin is given by Methuen-Campbell in his work tracing the lineage and character of those traditions. | [
"Methuen-Campbell"
] | [
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SQuAD | 10e684a6ab86416ab2d5f4828490bbd5 | Which of the two people that visited Chopin were tutored by him on piano? | [
"Pauline Viardot"
] | Which of the [MASK] people that visited [MASK] were tutored by him on piano? | During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and com... | Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. | [
"Pauline Viardot"
] | [
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-0.272064477205... | PERSON | Pauline Rita | 0.799858 | Clouseau | 0.368658 |
SQuAD | f231fb375567430cbfde8c9f7734284c | On what date did Delacroix write a letter based on his visit at Nohant? | [
"7 June 1842"
] | On what date did [MASK] write a letter based on his visit at [MASK]? | During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and com... | Delacroix gives an account of staying at Nohant in a letter of 7 June 1842: | [
"7 June 1842"
] | [
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0.05816909... | DATE | 7 April 1907 | 0.98316 | September 3 , 1984 | 0.7795 |
SQuAD | bbae3d51da284895b67f9f4d44ee057f | Who wrote a letter on June 7, 1842 about a stay in Nohant? | [
"Delacroix"
] | Who wrote a letter on [MASK] about a stay in [MASK]? | During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and com... | Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. | [
"Delacroix"
] | [
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0.01063232403... | PERSON | Eugène Dubois | 0.789608 | Martin Mansergh | 0.472352 |
SQuAD | d3b47176d531464c9970143be2cba3e9 | What city did the group travel to in order to help Frédéric recover? | [
"Marseilles"
] | What city did the group travel to in order to help [MASK] recover? | Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they staye... | The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. | [
"Marseilles"
] | [
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SQuAD | 9e52d1a8c0eb4a34b71000cd9164b0da | Where did Frédéric and Sand move to in 1842 in buildings next to each other? | [
"Square d'Orléans"
] | Where did [MASK] and [MASK] move to in [MASK] in buildings next to each other? | The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to S... | In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings. | [
"Square d'Orléans"
] | [
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0.0456443838775157... | FAC | Highbury Square | 0.86919 | Richmond by Underground | 0.235671 |
SQuAD | dac2dde916e8473fb1a775c698db1c47 | Where did the group travel to after Barcelona? | [
"Marseilles"
] | Where did the group travel to after [MASK]? | Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they staye... | The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. | [
"Marseilles"
] | [
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SQuAD | e873314d5613449c93c5c87ef03ab411 | In 1842 where did Chopin and Sand move? | [
"Square d'Orléans"
] | In [MASK] where did [MASK] and [MASK] move? | The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to S... | In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings. | [
"Square d'Orléans"
] | [
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SQuAD | a02100c8f39945beaf4b7a74b18110b0 | Where did they travel after leaving Barcelona? | [
"Marseilles"
] | Where did they travel after leaving [MASK]? | Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they staye... | The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. | [
"Marseilles"
] | [
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SQuAD | 0efe09cf1c6e4a2c88b45a2faf63f62d | Who did Chopin play for while she sang? | [
"Delfina Potocka"
] | Who did [MASK] play for while she sang? | At the end of November, Chopin returned to Paris. He passed the winter in unremitting illness, but gave occasional lessons and was visited by friends, including Delacroix and Franchomme. Occasionally he played, or accompanied the singing of Delfina Potocka, for his friends. During the summer of 1849, his friends found ... | Occasionally he played, or accompanied the singing of Delfina Potocka, for his friends. | [
"Delfina Potocka"
] | [
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-0.565181076526641... | PERSON | Elżbieta Lubomirska | 0.775208 | Brent Sirota | 0.278864 |
SQuAD | 29dac4a9450041e5bc8dd490b5306bbc | In 1849 where did Chopin live? | [
"Chaillot"
] | In [MASK] where did [MASK] live? | At the end of November, Chopin returned to Paris. He passed the winter in unremitting illness, but gave occasional lessons and was visited by friends, including Delacroix and Franchomme. Occasionally he played, or accompanied the singing of Delfina Potocka, for his friends. During the summer of 1849, his friends found ... | During the summer of 1849, his friends found him an apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. | [
"Chaillot"
] | [
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0.0421644747257... | GPE | Chailly | 0.693765 | Shelby Basin | 0.151298 |
SQuAD | c338dcbe72aa42c7ba05b6a7ff24e3a7 | Chopin accompanied which singer for friends? | [
"Delfina Potocka"
] | [MASK] accompanied which singer for friends? | At the end of November, Chopin returned to Paris. He passed the winter in unremitting illness, but gave occasional lessons and was visited by friends, including Delacroix and Franchomme. Occasionally he played, or accompanied the singing of Delfina Potocka, for his friends. During the summer of 1849, his friends found ... | Occasionally he played, or accompanied the singing of Delfina Potocka, for his friends. | [
"Delfina Potocka"
] | [
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-0.572581529617... | PERSON | Elżbieta Lubomirska | 0.775208 | Iordache Beldiman | 0.260815 |
SQuAD | 202a79e0f2e84032bd9bb351985ca155 | Where did his friends found Chopin an apartment in 1849? | [
"Chaillot"
] | Where did his friends found [MASK] an apartment in [MASK]? | At the end of November, Chopin returned to Paris. He passed the winter in unremitting illness, but gave occasional lessons and was visited by friends, including Delacroix and Franchomme. Occasionally he played, or accompanied the singing of Delfina Potocka, for his friends. During the summer of 1849, his friends found ... | During the summer of 1849, his friends found him an apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. | [
"Chaillot"
] | [
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SQuAD | d7c20b4c212b4d30871d55bf596528a2 | When did his sister come to stay with Chopin? | [
"June 1849"
] | When did his sister come to stay with [MASK]? | With his health further deteriorating, Chopin desired to have a family member with him. In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12. After 15 October, when his condition took a marked turn... | In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12. | [
"June 1849"
] | [
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0.08571700006723... | DATE | April 1841 | 0.984457 | the 1990s to early 2000s | 0.167333 |
SQuAD | f890362578f54f73aba36a64c82a09f5 | Who gave Chopin a loan in September for an apartment? | [
"Jane Stirling"
] | Who gave [MASK] a loan in [MASK] for an apartment? | With his health further deteriorating, Chopin desired to have a family member with him. In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12. After 15 October, when his condition took a marked turn... | In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12. | [
"Jane Stirling"
] | [
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-0.040187686681... | PERSON | Jane Esiner | 0.874828 | Meester | 0.504455 |
SQuAD | 6f61eda9bfbe4e9d88f2e61871a8ae24 | Chopin gave a yearly performance where? | [
"Salle Pleyel"
] | [MASK] gave a yearly performance where? | Chopin seldom performed publicly in Paris. In later years he generally gave a single annual concert at the Salle Pleyel, a venue that seated three hundred. He played more frequently at salons, but preferred playing at his own Paris apartment for small groups of friends. The musicologist Arthur Hedley has observed that ... | In later years he generally gave a single annual concert at the Salle Pleyel, a venue that seated three hundred. | [
"Salle Pleyel"
] | [
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-0.2982081174850... | FAC | LaSalle | 0.678363 | Holt Fen | 0.189579 |
SQuAD | 0089da4fe0064735813867fbee3190a6 | Who gave Frédéric his first significant public approval in regards to his compositions? | [
"Robert Schumann"
] | Who gave [MASK] his [MASK] significant public approval in regards to his compositions? | At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris co... | At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. | [
"Robert Schumann"
] | [
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0.006995900... | PERSON | Robert Lenkiewicz | 0.906335 | Margot Schnell | 0.654427 |
SQuAD | a00be1c628e34faa911d7bd984b39ed7 | From whom did Chopin receive his first big endorsement? | [
"Robert Schumann"
] | From whom did [MASK] receive his [MASK] big endorsement? | At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris co... | At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. | [
"Robert Schumann"
] | [
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-0.2220355868... | PERSON | Robert Lenkiewicz | 0.906335 | Vittorio Emanuele | 0.347356 |
SQuAD | c193341142b2489881239435fa282950 | What was the name of Chopin's doctor? | [
"Jean Cruveilhier"
] | What was the name of [MASK] 's doctor? | Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-an... | His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. | [
"Jean Cruveilhier"
] | [
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0.1964276134967... | PERSON | Jean Glavany | 1 | Hackmann | 0.348476 |
SQuAD | 54578bea3b7744cea2d3c766e2e66c0b | Who did Frédéric meet in the spring of 1834 at the Lower Rhenish Music Festival? | [
"Felix Mendelssohn"
] | Who did [MASK] meet in [MASK] at [MASK]? | In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable ... | In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. | [
"Felix Mendelssohn"
] | [
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-0.209881812334... | PERSON | Felix Klein | 0.798742 | David Hudnut | 0.410943 |
SQuAD | 8be068227e2a4c7da0263a0b8fc58a10 | Where did Chopin meet Felix Mendelssohn? | [
"the Lower Rhenish Music Festival"
] | Where did [MASK] meet [MASK]? | In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable ... | In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. | [
"the Lower Rhenish Music Festival"
] | [
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-0.16193337... | EVENT | the ITunes Festival | 0.868594 | the Central American and Caribbean Championships | 0.71062 |
SQuAD | 15524996b49c432883f7166ae74e8740 | Who did Chopin attend the Lower Rhenish Music Festival with? | [
"Hiller"
] | Who did [MASK] attend [MASK] with? | In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable ... | In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. | [
"Hiller"
] | [
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-0.281577080488204... | PERSON | Bennett Miller | 0.799002 | Killy | 0.370593 |
SQuAD | 3b9f32a1b6d14e4abbe8028012ed1d9b | Who did Chopin meet at a music festival early in 1834? | [
"Felix Mendelssohn"
] | Who did [MASK] meet at a music festival early in [MASK]? | In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable ... | In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. | [
"Felix Mendelssohn"
] | [
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SQuAD | ae1316af61864adc93ca196476b2257b | Where did Chopin and Hiller go with the person Chopin met in the spring of 1834? | [
"Düsseldorf"
] | Where did [MASK] and [MASK] go with the person [MASK] met in [MASK]? | In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable ... | After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. | [
"Düsseldorf"
] | [
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SQuAD | b601276e8507441b8b8c14be0e3a454e | Who is credited with creating the nocturne? | [
"John Field"
] | Who is credited with creating the nocturne? | Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exp... | Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. | [
"John Field"
] | [
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-0.07399892... | PERSON | John Granville | 0.890523 | Ian Mitchell | 0.57798 |
SQuAD | febe73d3df3a4f81b0daab5c9ff1bcc6 | Who was the organist at Chopin's funeral? | [
"Louis Lefébure-Wély"
] | Who was the organist at [MASK] 's funeral? | Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The fune... | The organist at the funeral was Louis Lefébure-Wély. | [
"Louis Lefébure-Wély"
] | [
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-0.15425804... | PERSON | Bart - Bart | 0.795029 | Vic Toews | 0.055149 |
SQuAD | 248a6dfd7a8247a88cc97ac7db154441 | Which cemetery was Chopin buried in? | [
"Père Lachaise Cemetery"
] | Which cemetery was [MASK] buried in? | Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The fune... | The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. | [
"Père Lachaise Cemetery"
] | [
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SQuAD | 515db806d74f4ad2be4c1a716724d970 | What is the name of the muse carved on Chopin's tombstone? | [
"Euterpe"
] | What is the name of the muse carved on [MASK] 's tombstone? | Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's... | Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. | [
"Euterpe"
] | [
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0.2855145335... | PERSON | Pastinaca sativa | 0.533411 | Brandon Snyder | 0.004078 |
SQuAD | 2a4996c369b44e1695a7e12cbaa660d3 | How much did Chopin's funeral cost? | [
"5,000 francs"
] | How much did [MASK] 's funeral cost? | Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's... | The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. | [
"5,000 francs"
] | [
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0.1639639288187027,... | MONEY | 700 million Euros | 0.799127 | almost two million marks | 0.532222 |
SQuAD | 11085cbd4b2849bcb8da5149e9c77105 | Who paid for Chopin's funeral? | [
"Jane Stirling"
] | Who paid for [MASK] 's funeral? | Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's... | The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. | [
"Jane Stirling"
] | [
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0.11968518048524... | PERSON | Jane Esiner | 0.874828 | Chris Chambliss | 0.468829 |
SQuAD | 9ec8f10b689245faad6472307a83cfae | Who ended up with the 200 letters from Sand to Chopin? | [
"Sand"
] | Who ended up with the [MASK] letters from [MASK] to [MASK]? | Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's... | She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them. | [
"Sand"
] | [
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0.157484754920... | PERSON | Gravel | 0.666311 | Barbara Garlitz | 0.1453 |
SQuAD | d6b1ce84dce5408f859a8bfcbb7bafcd | In what century did the Tibetan Empire fall? | [
"the 9th century"
] | In what century did [MASK] fall? | Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders bet... | Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. | [
"the 9th century"
] | [
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0.2458529919... | DATE | around the 11th century | 0.940838 | the week of 1 March 1997 | 0.593372 |
SQuAD | eb038072748243d3a73e5dec1702a357 | Who was the Tangs biggest rival? | [
"Tibet"
] | Who was the [MASK] biggest rival? | Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders bet... | Tibet was once a strong power contemporaneous with Tang China (618–907). | [
"Tibet"
] | [
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0.046004951... | GPE | Lhasa | 0.753432 | Schuylkill County | 0.080978 |
SQuAD | d16801bebb204cc08674b61a5ec81460 | What year did Tang and Tibet sign a treaty to fix the borders? | [
"821"
] | What year did [MASK] and [MASK] sign a treaty to fix the borders? | Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders bet... | The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China. | [
"821"
] | [
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0.0612011... | DATE | 661 | 0.94679 | Plataea 479 B.C. | 0.637115 |
SQuAD | ff0aea4ca8c8458a8d4baf839b0271ba | On what date did Frédéric begin his journey into Western Europe? | [
"2 November 1830"
] | On what date did [MASK] begin his journey into [MASK]? | Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy. Later that month, i... | Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." | [
"2 November 1830"
] | [
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0.143672958016... | DATE | 2 February 1886 | 0.981907 | this quarter | 0.061735 |
SQuAD | e7ef2d4d050b4f04860680dc06b35c51 | What historian commented that the events involving Frédéric's friend in Poland contributed to his maturing? | [
"Zdzisław Jachimecki"
] | What historian commented that the events involving [MASK] 's friend in [MASK] contributed to his maturing? | Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy. Later that month, i... | Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." | [
"Zdzisław Jachimecki"
] | [
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0.0492458380758... | PERSON | Stanisław Płaza | 0.931048 | Maximillian | 0.335049 |
SQuAD | d6c7d9353e1d4bfdbdf8482599a2b49d | Who said that Chopin set out "into the wide world, with no very clearly defined aim, forever?" | [
"Zdzisław Jachimecki"
] | Who said that [MASK] set out" into the wide world, with no very clearly defined aim, forever?" | Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy. Later that month, i... | Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." | [
"Zdzisław Jachimecki"
] | [
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-0.047015551477... | PERSON | Stanisław Płaza | 0.931048 | Higos | 0.036987 |
SQuAD | e0939d8595f7456180cb513281b69e7d | In which year did Chopin begin experiencing a serious decline in health? | [
"1842"
] | In which year did [MASK] begin experiencing a serious decline in health? | 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 ... | From 1842 onwards, Chopin showed signs of serious illness. | [
"1842"
] | [
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0.0434723... | DATE | 1814 | 0.887898 | 1920 – 1981 | 0.483221 |
SQuAD | 86dc9f03ef5d482e8f0b8cc8f0dd6c47 | To whom did Chopin write a letter on 21 February 1842 about his agonizing pain? | [
"Grzymała"
] | To whom did [MASK] write a letter on [MASK] about his agonizing pain? | 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 ... | 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." | [
"Grzymała"
] | [
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0.2223176360130... | PERSON | Zieliński | 0.518068 | Mark Coyle | -0.048678 |
SQuAD | 9f768a369f8f40c8990ab5c3a57990bc | Who released the first collection of Chopin's works? | [
"Breitkopf & Härtel"
] | Who released the [MASK] collection of [MASK] 's works? | 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 publis... | The first collected edition was by Breitkopf & Härtel (1878–1902). | [
"Breitkopf & Härtel"
] | [
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0.088331960141... | ORG | Helfrich & Whittaker | 0.966381 | the Keystone Improvement Project | 0.094419 |
SQuAD | ae6ca7cdb33c446f9dd938fc1656eb0e | Who edited the Polish "National Edition" of Chopin's works? | [
"Jan Ekier"
] | Who edited the [MASK]" [MASK]" of [MASK] 's works? | 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 publis... | 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. | [
"Jan Ekier"
] | [
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-0.0745... | PERSON | Jan Jananayagam | 1 | Miguel Aiman | 0.197416 |
SQuAD | fa8ae134b28e482ca0347d2793615019 | What was the name under scholarly publications of Chopin's work form 1937 to 1966? | [
"Paderewski"
] | What was the name under scholarly publications of [MASK] 's work form [MASK]? | 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 publis... | 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. | [
"Paderewski"
] | [
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0.2875... | PERSON | Schabowski | 0.845725 | Gabriel Carillo | 0.38719 |
SQuAD | 1181f27dc91c45a5a64af9bc63ebf35b | Chopin's ability to create an advanced polonasises surpassed even two of his teachers, Zywny and who? | [
"Elsner"
] | [MASK] 's ability to create an advanced polonasises surpassed even [MASK] of his teachers, [MASK] and who? | 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 precurs... | Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). | [
"Elsner"
] | [
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SQuAD | 5f3eb974ff4b42c1aa9c65a7d37f90ce | What was the last number Chopin gave to an opus? | [
"65"
] | What was the last number [MASK] gave to an opus? | 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 group... | The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. | [
"65"
] | [
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-0.002112... | CARDINAL | approximately 75 | 0.798403 | fewer than 1901 | 0.202901 |
SQuAD | e2d85847718946ffbee6cdab8268acd9 | Who was Chopin's musical executor? | [
"Julian Fontana"
] | Who was [MASK] 's musical executor? | 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 group... | 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. | [
"Julian Fontana"
] | [
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-0.00563764851540327... | PERSON | Julian Morris | 0.816545 | Musa Agha | 0.1176 |
SQuAD | 171f1c0dc9ed465286c65bfe7b15ea58 | How many unfinished pieces did Julian Fontana make into eight more opus numbers? | [
"23"
] | How many unfinished pieces did [MASK] make into [MASK] more opus numbers? | 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 group... | 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. | [
"23"
] | [
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0.216541633009... | CARDINAL | just 26 | 0.907468 | about 120 – 190 | 0.291243 |
SQuAD | 2d1bcba6a48d4b5d8cfa1b9690d86c09 | Op. 74 is made up of how many Polish songs? | [
"17"
] | [MASK] is made up of how many [MASK] songs? | 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 group... | In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. | [
"17"
] | [
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-0.150830... | CARDINAL | 26 thousand | 0.904817 | more than ten | 0.139499 |
SQuAD | 17379a1cda624be89291b0d9176a058e | Who grouped 23 unpublished pieces and published them as Opp. 66-73 in 1855? | [
"Julian Fontana"
] | Who grouped [MASK] unpublished pieces and published them as [MASK] in [MASK]? | 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 group... | 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. | [
"Julian Fontana"
] | [
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0.0003723377... | PERSON | Julian Morris | 0.816545 | B. Lenin | 0.406384 |
SQuAD | d082e108123442e9991595efbd671672 | When was Op. 74 published? | [
"1857"
] | When was [MASK] published? | 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 group... | In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. | [
"1857"
] | [
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-0.1273... | DATE | 1896 | 0.855361 | the second half of the third millennium BC | 0.221282 |
SQuAD | d8e595dc9dd3437abc14b893b93b81d8 | Which ruler took Western Xia under their control? | [
"Genghis Khan"
] | Which ruler took [MASK] under their control? | 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 Mongo... | In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). | [
"Genghis Khan"
] | [
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-0.08488368... | PERSON | Altan Khan | 0.952897 | Adolf Nöldeke | 0.176872 |
SQuAD | 6050d55b57ae49d19d42b1fc80d41076 | Who was Genghis Khan's successor? | [
"Ögedei Khan"
] | Who was [MASK] successor? | 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 Mongo... | However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet. | [
"Ögedei Khan"
] | [
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-0.04517363... | PERSON | Mumtaz Khan | 0.976645 | Craig Hoyle | 0.055805 |
SQuAD | 1a085b373a4a4d7fadf61ebba816b71e | Who invaded Tibet? | [
"Ögedei Khan"
] | Who invaded [MASK]? | 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 Mongo... | However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet. | [
"Ögedei Khan"
] | [
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0.030837535... | PERSON | Mumtaz Khan | 0.976645 | George Bogle | 0.137841 |
SQuAD | 305467ab54974515a5774a9a4a0f36f1 | What was the name of Sand's daughter's fiance that contributed to deteriorating the relationship between Sand and Chopin? | [
"Auguste Clésinger"
] | What was the name of [MASK] 's daughter 's fiance that contributed to deteriorating the relationship between [MASK] and [MASK]? | 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 ... | 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. | [
"Auguste Clésinger"
] | [
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0.120721943676471... | PERSON | Augustin Souchy | 0.799767 | Hermann Junker | 0.482258 |
SQuAD | 62b5424487614637b98d1cfbef424691 | When did Chopin's relationship with Sand start to deteriorate? | [
"1846"
] | When did [MASK] 's relationship with [MASK] start to deteriorate? | 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 ... | 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. | [
"1846"
] | [
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0.06857265532... | DATE | B.D. 1884 | 0.875884 | 2 billion years ago | 0.111921 |
SQuAD | ed13cb0790504fceabb35ed280e3e468 | Whom did Sand's daughter Solange become engaged to? | [
"Auguste Clésinger"
] | Whom did [MASK] 's daughter [MASK] become engaged to? | 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 ... | 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. | [
"Auguste Clésinger"
] | [
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0.2230325639247... | PERSON | Augustin Souchy | 0.799767 | Bill Summers | 0.202086 |
SQuAD | 877b286735c042ac910f59d8981bfbce | Who was the fortune hunter engaged to Sand's daughter? | [
"Auguste Clésinger."
] | Who was the fortune hunter engaged to [MASK] 's daughter? | 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 ... | 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. | [
"Auguste Clésinger."
] | [
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SQuAD | 2202ae846651442da1a75e28788d3d7f | How many polonaises were published while Chopin lived? | [
"seven"
] | How many polonaises were published while [MASK] lived? | 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 o... | The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. | [
"seven"
] | [
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SQuAD | 05ac390039154f9f95b361d671b71cf4 | Where did Chopin stay while in London? | [
"Dover Street"
] | Where did [MASK] stay while in [MASK]? | 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 techniq... | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. | [
"Dover Street"
] | [
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SQuAD | 2ea9243f6a6c4bc6946359e7e4e77e80 | What company provided Chopin with a piano while in London? | [
"Broadwood"
] | What company provided [MASK] with a piano while in [MASK]? | 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 techniq... | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. | [
"Broadwood"
] | [
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SQuAD | 40efca0f88694fba9d5d413e966fb821 | What date did he perform with Viardot? | [
"7 July"
] | What date did he perform with [MASK]? | 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 pre... | At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | [
"7 July"
] | [
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... | DATE | 7 September | 0.972174 | the eight to ten days | 0.106844 |
SQuAD | cf520f4338674778ac5c45ce520db847 | What steet did Chopin stay on in London? | [
"Dover Street"
] | What steet did [MASK] stay on in [MASK]? | 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 techniq... | In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. | [
"Dover Street"
] | [
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SQuAD | f8f05fb82b7a46c1a130d11fe5c92d05 | Who sang chopin arrangements on July 7 of the year Chopin was in London? | [
"Viardot"
] | Who sang chopin arrangements on [MASK] [MASK] was in [MASK]? | 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 pre... | At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts. | [
"Viardot"
] | [
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SQuAD | b76b09c204eb452d8e06b2727aa26a55 | Who wrote about a Chopin 1841 recital? | [
"Léon Escudier"
] | Who wrote about a [MASK] [MASK] recital? | 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 origin... | 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. | [
"Léon Escudier"
] | [
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SQuAD | f1fa37cfa85a4a009e13c4f534b2d691 | Chopin's chord progressions are similar in style to what other composer? | [
"Claude Debussy"
] | [MASK] 's chord progressions are similar in style to what other composer? | 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... | Chord progressions sometimes anticipate the shifting tonality of later composers such as Claude Debussy, as does Chopin's use of modal harmony. | [
"Claude Debussy"
] | [
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SQuAD | 258234ae7a8a46d3a4809ad883a27f41 | Who wrote about Chopin's "novel harmonic effects"? | [
"Temperley"
] | Who wrote about [MASK] 's" novel harmonic effects"? | 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... | 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... | [
"Temperley"
] | [
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SQuAD | a5ae91aaab874c2abcd9086716499668 | According to who did Chopin demand strictly sticking with rhythm? | [
"Friederike Müller"
] | According to who did [MASK] demand strictly sticking with rhythm? | Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' ... | Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. | [
"Friederike Müller"
] | [
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-0.025069966912... | PERSON | Wolfgang Zeller | 0.866541 | Kohlberg | 0.632297 |
SQuAD | 09f3611e8c9945178c478b7a10c548ad | Which student said Chopin made sure his students knew his legato, cantabile style of playing? | [
"Friederike Müller"
] | Which student said [MASK] made sure his students knew his legato, cantabile style of playing? | Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' ... | Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. | [
"Friederike Müller"
] | [
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SQuAD | 070b58bbcabd4cd782debd18a1c6ade9 | In what suite did Schumann name a work for Chopin? | [
"Carnaval"
] | In what suite did [MASK] name a work for [MASK]? | Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for pi... | Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. | [
"Carnaval"
] | [
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0.099646799266... | WORK_OF_ART | Bastille | 0.61112 | Hereafter | 0.349089 |
SQuAD | 1f4184b71acb44c2ada2d076466e7a0d | How many of Chopin's Polish songs did Liszt transliterate for piano? | [
"six"
] | How many of [MASK] 's [MASK] songs did [MASK] transliterate for piano? | Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for pi... | Liszt later transcribed for piano six of Chopin's Polish songs. | [
"six"
] | [
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0.07736591... | CARDINAL | twelve | 0.879602 | four and a half lengths | 0.550454 |
SQuAD | aca95355ec404d05ba5cefc41024961d | With who did Chopin feel comfortable speaking of folk music with? | [
"Alkan"
] | With who did [MASK] feel comfortable speaking of folk music with? | Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for pi... | A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death. | [
"Alkan"
] | [
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SQuAD | e0c5f103b7844558b042348d47d500b2 | What Schumann suite contained the name of a piece Schumann named for Chopin? | [
"Carnaval"
] | What [MASK] suite contained the name of a piece [MASK] named for [MASK]? | Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for pi... | Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. | [
"Carnaval"
] | [
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0.28784239292... | WORK_OF_ART | Bastille | 0.61112 | A Gossip 's Story | 0.191256 |
SQuAD | 5191ededd2c54e5ba156cdcd31a815ab | What other musician shows to have elements of Chopin in his work? | [
"Liszt"
] | What other musician shows to have elements of [MASK] in his work? | Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for pi... | Elements of Chopin's music can be traced in many of Liszt's later works. | [
"Liszt"
] | [
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SQuAD | 9775752ceeaa4963afe5fabbbd528268 | Who dedicated his 1915 piano Études to Chopin? | [
"Debussy"
] | Who dedicated his [MASK] piano [MASK] to [MASK]? | Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Lo... | Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand. | [
"Debussy"
] | [
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0.160654276609... | PERSON | Ravel | 0.791438 | Howgill | 0.083823 |
SQuAD | 3141a29d926048e79a59e094bed2100a | For what publisher to Debussy edit Chopin's music for? | [
"Jacques Durand"
] | For what publisher to [MASK] edit [MASK] 's music for? | Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Lo... | Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand. | [
"Jacques Durand"
] | [
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SQuAD | 63182e4bebe04b5e99dbc790d23a788c | Who was a student of Chopin's former students and actually recorded some Chopin music? | [
"Raoul Koczalski"
] | Who was a student of [MASK] 's former students and actually recorded some [MASK] music? | Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Lo... | Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. | [
"Raoul Koczalski"
] | [
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SQuAD | 5fcb3f89952e40b29713e075e4c3113c | What dynasty was concerned with countering northern enemy states? | [
"Song dynasty"
] | What dynasty was concerned with countering northern enemy states? | During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (96... | Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). | [
"Song dynasty"
] | [
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0.0004252819... | DATE | Tuluva Dynasty | 0.791964 | age 20 | 0.025647 |
SQuAD | 06896ca8af7e47baa106792c65796f11 | Who ruled the Liao dynasty? | [
"the Khitan"
] | Who ruled the [MASK] dynasty? | During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (96... | The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234). | [
"the Khitan"
] | [
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0.18542464077472687,
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-0.21418510377407074,
-0.09635534882545471,
0.1681605130... | NORP | the Bahri Mamluks | 0.927569 | Reactionary | 0.4721 |
SQuAD | 2a693f385394434c94cb742e0b0d95d0 | Who ruled the Jin dynasty? | [
"Jurchen"
] | Who ruled the [MASK] dynasty? | During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (96... | The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234). | [
"Jurchen"
] | [
0.01693270355463028,
0.12062393128871918,
-0.044181082397699356,
0.2461375594139099,
-0.0342690646648407,
0.041366323828697205,
0.06825678050518036,
-0.07644979655742645,
-0.3850482106208801,
0.18542464077472687,
-0.0570312961935997,
-0.21418510377407074,
-0.09635534882545471,
0.1681605130... | NORP | Liao Khitan | 0.730122 | Habanera | 0.003849 |
SQuAD | baf28f25ac364d1a8f62a992973fbaff | Who said that Chopin's familiarity with Polish music was more "urbanised" than true folk music? | [
"Barbara Milewski"
] | Who said that [MASK] 's familiarity with [MASK] music was more" urbanised" than true folk music? | Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski sug... | Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. | [
"Barbara Milewski"
] | [
-0.04907730221748352,
0.005705434828996658,
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0.1089387908577919,
0.3910544514656067,
0.3801763355731964,
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0.07439041882753372,
-0.2588352560997009,
0.23950769007205963,
0.08499877899885178,
0.0102883037... | PERSON | Barbara Jaeger | 0.869024 | Clayton Hickman | 0.606657 |
SQuAD | e85d7cf27aa84a6ab0b62922268d5748 | Who said Chopin's works were modeled after Bach, Beethoven, Schubert and Field? | [
"Richard Taruskin"
] | Who said [MASK] 's works were modeled after [MASK], [MASK], [MASK] and [MASK]? | Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski sug... | Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field. | [
"Richard Taruskin"
] | [
0.3587699234485626,
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0.26054438948631287,
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-0.02366122417151928,
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0.040852732... | PERSON | Richard Nizielski | 0.957899 | Marcus Holness | 0.477014 |
SQuAD | 49e31580f0054431b44ca4e09ebf4387 | What year was the Sakya viceregal regime eradicated? | [
"1358"
] | What year was the [MASK] viceregal regime eradicated? | In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto ru... | In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). | [
"1358"
] | [
-0.18126171827316284,
-0.016640732064843178,
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0.16791966557502747,
0.07445322722196579,
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0.2341790795326233,
0.0907256230711937,
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0.022450502961874008,
-0.07446248829364777,
0.2096182107925415,
-0.3920932710170746,
0.32707002758... | DATE | 1265 | 0.943453 | 1837 – 39 | 0.227771 |
SQuAD | 9851b4107009468f8d2780fcda5e0e30 | Which dynasty became ruler of Tibet? | [
"the Phagmodrupa Dynasty"
] | Which dynasty became ruler of [MASK]? | In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto ru... | The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet. | [
"the Phagmodrupa Dynasty"
] | [
-0.055196166038513184,
0.028032390400767326,
-0.002298862673342228,
0.3039926588535309,
-0.03778267279267311,
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0.02426302060484886,
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-0.23221254348754883,
-0.15950335562229156,
0.2255... | ORG | the Babylonian Brotherhood | 0.892764 | The " Rarity Records Committee | 0.474732 |
SQuAD | 2bba7b46bbaf41128f5ca180bb4615c1 | What year did Schumann review Chopin's piano concertos? | [
"1836"
] | What year did [MASK] review [MASK] 's piano concertos? | With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November... | Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning | [
"1836"
] | [
-0.17003194987773895,
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-0.07115782052278519,
0.03404342010617256,
-0.03559273108839989,
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-0.1786060929298401,
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-0.019905278459191322,
-0.1731228232383728,
0.0532413125038147,
-0.09711093455553055,
0.1510974168... | DATE | 1798 | 0.887751 | September 10 , 1966 | 0.264423 |
SQuAD | e184279e5e4745e9a5b1fbbd86089348 | In his review Schumann made note of Chopin's emotions for what? | [
"Poland"
] | In his review [MASK] made note of [MASK] 's emotions for what? | With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November... | Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning | [
"Poland"
] | [
0.033677469938993454,
0.07330150902271271,
-0.2915782630443573,
0.273982971906662,
0.03746544197201729,
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-0.11100337654352188,
0.04482102766633034,
-0.15645265579223633,
-0.192425966262817... | GPE | Prussia Germany | 0.795047 | Saint Christopher Island | 0.363633 |
SQuAD | 11218391a73b4436b34717b4ec3e2322 | A biography on Chopin released under Franz Liszt's name was likely written by who? | [
"Carolyne zu Sayn-Wittgenstein"
] | A biography on [MASK] released under [MASK] name was likely written by who? | [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are ... | The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation." | [
"Carolyne zu Sayn-Wittgenstein"
] | [
0.05038285255432129,
0.0929533839225769,
-0.47747138142585754,
0.17546291649341583,
0.2730659246444702,
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0.015522425062954426,
-0.19079671800136566,
0.03348734974861145,
0.25180697441101074,
-0.1810600906610489,
0.10572966933250427,
-0.12552936375141144,
-0.07239476591... | PERSON | Eberhard zu Sayn | 0.785553 | Haruto | 0.027891 |
SQuAD | bfd5386bd5d840cb99a212db112a3360 | Who wrote a glowing review of Chopin's love for his country through his music in 1836? | [
"Schumann"
] | Who wrote a glowing review of [MASK] 's love for his country through his music in [MASK]? | With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November... | Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning | [
"Schumann"
] | [
0.07124046981334686,
0.11212284862995148,
-0.1902846246957779,
0.1845637708902359,
0.11091119050979614,
0.13131588697433472,
0.034489452838897705,
-0.1798255294561386,
0.005318101495504379,
0.013001861982047558,
-0.23353828489780426,
0.08300558477640152,
0.19671984016895294,
-0.09412443637... | PERSON | Schubert | 0.794072 | Teddy Wilson | 0.290904 |
SQuAD | 0e568d0b0b804d3bb547d4b852c89870 | Who was the fourth Karmapa Lama? | [
"Rolpe Dorje"
] | Who was the [MASK] Karmapa Lama? | As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also en... | Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. | [
"Rolpe Dorje"
] | [
0.017612162977457047,
0.3120884895324707,
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0.12671518325805664,
-0.16795310378074646,
0.03872096911072731,
0.19426871836185455,
-0.16182389855384827,
-0.21082021296024323,
0.3857523202896118,
-0.3034474551677704,
-0.1418708711862564,
-0.41970011591911316,
-0.1918043047... | PERSON | Ugyen Wangchuk | 0.799793 | Žarko Komanin | 0.118762 |
SQuAD | eee3cbce936547ac8addd40cbb30db20 | Who rejected an invitation by the Hongwu Emperor? | [
"Rolpe Dorje"
] | Who rejected an invitation by [MASK]? | As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also en... | Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. | [
"Rolpe Dorje"
] | [
-0.16368140280246735,
0.12425708025693893,
-0.06524667143821716,
0.12051296979188919,
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0.3060242235660553,
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0.09158111363649368,
0.10882890224456787,
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-0.04687568545341492,
-0.27290070056915283,
0.01294388901442... | PERSON | Ugyen Wangchuk | 0.799793 | Hansi Brand | 0.063447 |
SQuAD | 7343f2eb2e6b40e2a547c05bb14b9c46 | Who worked towards obtaining a extension of relations with Tibet? | [
"the Yongle Emperor"
] | Who worked towards obtaining a extension of relations with [MASK]? | However, the early Ming government enacted a law, later rescinded, which forbade Han Chinese to learn the tenets of Tibetan Buddhism. There is little detailed evidence of Chinese—especially lay Chinese—studying Tibetan Buddhism until the Republican era (1912–1949). Despite these missions on behalf of the Hongwu Emperor... | Despite these missions on behalf of the Hongwu Emperor, Morris Rossabi writes that the Yongle Emperor (r. 1402–1424) "was the first Ming ruler actively to seek an extension of relations with Tibet." | [
"the Yongle Emperor"
] | [
-0.03662322089076042,
-0.15108557045459747,
0.17567391693592072,
0.1315634697675705,
0.20815497636795044,
0.4187426269054413,
0.16233322024345398,
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-0.04650924727320671,
-0.2523566484451294,
0.0448385514318943,
-0.015291585586965084,
0.01727983728... | PERSON | Domninus the Elder | 0.848742 | Markandeya Purna | 0.249336 |
SQuAD | 13782ac870134deab7a797dc2ef9205a | Who was the Mongol prince? | [
"Godan"
] | Who was the [MASK] prince? | The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officia... | The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. | [
"Godan"
] | [
-0.11517123132944107,
-0.09134095907211304,
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0.13512952625751495,
-0.4127044379711151,
-0.10357514023780823,
-0.16269299387931824,
-0.161265... | PERSON | Wodan | 0.691898 | Wasilewski | 0.441292 |
SQuAD | 9c6f747630c14539b1c9c21bc2c9b111 | Who was the leader of the Sakya school of Tibetan Buddhism? | [
"Sakya Pandita"
] | Who was the leader of the Sakya school of [MASK]? | The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officia... | During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. | [
"Sakya Pandita"
] | [
-0.23624494671821594,
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-0.2924155592918396,
0.2534472942352295,
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-0.03417402133345604,
-0.16941063106060028,
-0.31102174520492554,
-0.21517184376716614,
0.050275... | PERSON | Mihira Bhoja | 0.799241 | Flamengo | 0.119217 |
SQuAD | 06a275f75614424082024df8461461e5 | Who was the regent of the Mongol Empire? | [
"Töregene Khatun"
] | Who was the regent of [MASK]? | The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officia... | With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). | [
"Töregene Khatun"
] | [
-0.184542715549469,
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0.008553012274205685,
-0.22675161063671112,
0.144731909... | PERSON | Ayesha Jalal | 0.828546 | Dyce | 0.073915 |
SQuAD | fe53c3f87a8f4fce86ccac120a929ab0 | How many movements are No. 2, Op. 35 and No. 3, Op 58 in? | [
"four"
] | How many movements are No . [MASK], Op . [MASK] and No . [MASK], Op [MASK] in? | The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and t... | The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. | [
"four"
] | [
-0.10576668381690979,
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0.285322904586792,
-0.02511483244597912,
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-0.20820726454257965,
-0.1538151651620865,
0.2010785937309265,
-0.0031297928653657436,
0.1588767468... | CARDINAL | eight hundred seven | 0.900855 | 38 – 40 | 0.337129 |
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