Question: What year was the Chopiniana released?

Answer: 1909

music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos. Chopin's music was used in the 1909 ballet "Chopiniana", choreographed by Michel Fokine and orchestrated by Alexander Glazunov. Sergei Diaghilev commissioned additional orchestrations—from Stravinsky, Anatoly Lyadov, Sergei Taneyev and Nikolai Tcherepnin—for later productions, which used the title "Les Sylphides". Chopin's music remains very popular and is regularly performed, recorded and broadcast worldwide. The world's oldest monographic music competition, the International Chopin Piano Competition, founded in 1927, is held every five years in Warsaw. The Fryderyk Chopin Institute of Poland lists on its website over eighty


Question: Which 1909 ballet used Chopin's music?

Answer: Chopiniana

music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos. Chopin's music was used in the 1909 ballet "Chopiniana", choreographed by Michel Fokine and orchestrated by Alexander Glazunov. Sergei Diaghilev commissioned additional orchestrations—from Stravinsky, Anatoly Lyadov, Sergei Taneyev and Nikolai Tcherepnin—for later productions, which used the title "Les Sylphides". Chopin's music remains very popular and is regularly performed, recorded and broadcast worldwide. The world's oldest monographic music competition, the International Chopin Piano Competition, founded in 1927, is held every five years in Warsaw. The Fryderyk Chopin Institute of Poland lists on its website over eighty


Question: Where did Chopin head to during the Revolution of 1848?

Answer: London

Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. 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


Question: Who provided the majority of funds for his concert tour in London?

Answer: Jane Stirling

Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. 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


Question: Where did Chopin go in the spring of 1848?

Answer: London

Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. 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


Question: What two people suggested the 1848 tour?

Answer: Jane Stirling and her elder sister

Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. 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


Question: Who paid for most of the 1848 music tour of Chopin?

Answer: Jane Stirling

Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. 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


Question: What was happening in April 1848 in Paris?

Answer: Revolution

Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. 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


Question: What was Jane Stirling's national heritage?

Answer: Scottish

Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. 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


Question: Where did Chopin stay while in London?

Answer: Dover Street

Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. 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


Question: What company provided Chopin with a piano while in London?

Answer: Broadwood

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 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. On 28 August,


Question: Where was Chopin's initial performance?

Answer: Stafford House

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 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. On 28 August,


Question: What two notable guests were present during his premiere performance at Stafford House?

Answer: Queen Victoria and Prince Albert

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 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. On 28 August,


Question: What steet did Chopin stay on in London?

Answer: Dover Street

Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. 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


Question: What did Broadway provide for Chopin?

Answer: a grand piano.

Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding. 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


Question: What two dignitaries where at his first performance in London?

Answer: Queen Victoria and Prince Albert.

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 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. On 28 August,


Question: In addition to hearing him play, what else did people seek from Chopin in London?

Answer: piano lessons

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 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. On 28 August,


Question: Who sang chopin arrangements on July 7 of the year Chopin was in London?

Answer: Viardot

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 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. On 28 August,


Question: Where did Jane Stirling invite Chopin?

Answer: Scotland

he played at a concert in Manchester's Concert Hall, sharing the stage with Marietta Alboni and Lorenzo Salvi. In late summer he was invited by Jane Stirling to visit Scotland, where he stayed at Calder House near Edinburgh and at Johnstone Castle in Renfrewshire, both owned by members of Stirling's family. She clearly had a notion of going beyond mere friendship, and Chopin was obliged to make it clear to her that this could not be so. He wrote at this time to Grzymała "My Scottish ladies are kind, but such bores", and responding to a rumour about his involvement,


Question: What doctor was with Chopin when he wrote out his will?

Answer: Adam Łyszczyński

answered that he was "closer to the grave than the nuptial bed." He gave a public concert in Glasgow on 27 September, and another in Edinburgh, at the Hopetoun Rooms on Queen Street (now Erskine House) on 4 October. In late October 1848, while staying at 10 Warriston Crescent in Edinburgh with the Polish physician Adam Łyszczyński, he wrote out his last will and testament—"a kind of disposition to be made of my stuff in the future, if I should drop dead somewhere", he wrote to Grzymała. Chopin made his last public appearance on a concert platform at London's Guildhall


Question: Where was Chopin invited to in late summer?

Answer: Scotland

he played at a concert in Manchester's Concert Hall, sharing the stage with Marietta Alboni and Lorenzo Salvi. In late summer he was invited by Jane Stirling to visit Scotland, where he stayed at Calder House near Edinburgh and at Johnstone Castle in Renfrewshire, both owned by members of Stirling's family. She clearly had a notion of going beyond mere friendship, and Chopin was obliged to make it clear to her that this could not be so. He wrote at this time to Grzymała "My Scottish ladies are kind, but such bores", and responding to a rumour about his involvement,


Question: What city did Chopin perform at on September 27?

Answer: Glasgow

answered that he was "closer to the grave than the nuptial bed." He gave a public concert in Glasgow on 27 September, and another in Edinburgh, at the Hopetoun Rooms on Queen Street (now Erskine House) on 4 October. In late October 1848, while staying at 10 Warriston Crescent in Edinburgh with the Polish physician Adam Łyszczyński, he wrote out his last will and testament—"a kind of disposition to be made of my stuff in the future, if I should drop dead somewhere", he wrote to Grzymała. Chopin made his last public appearance on a concert platform at London's Guildhall


Question: What did Chopin write while staying with Doctor Adam Łyszczyński?

Answer: will

answered that he was "closer to the grave than the nuptial bed." He gave a public concert in Glasgow on 27 September, and another in Edinburgh, at the Hopetoun Rooms on Queen Street (now Erskine House) on 4 October. In late October 1848, while staying at 10 Warriston Crescent in Edinburgh with the Polish physician Adam Łyszczyński, he wrote out his last will and testament—"a kind of disposition to be made of my stuff in the future, if I should drop dead somewhere", he wrote to Grzymała. Chopin made his last public appearance on a concert platform at London's Guildhall


Question: When did Chopin last appear in public?

Answer: 16 November 1848

on 16 November 1848, when, in a final patriotic gesture, he played for the benefit of Polish refugees. By this time he was very seriously ill, weighing under 99 pounds (i.e. less than 45 kg), and his doctors were aware that his sickness was at a terminal stage. 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 him an


Question: Where was Chopin's last public performance?

Answer: London's Guildhall

answered that he was "closer to the grave than the nuptial bed." He gave a public concert in Glasgow on 27 September, and another in Edinburgh, at the Hopetoun Rooms on Queen Street (now Erskine House) on 4 October. In late October 1848, while staying at 10 Warriston Crescent in Edinburgh with the Polish physician Adam Łyszczyński, he wrote out his last will and testament—"a kind of disposition to be made of my stuff in the future, if I should drop dead somewhere", he wrote to Grzymała. Chopin made his last public appearance on a concert platform at London's Guildhall


Question: Who were the beneficiaries of his last public concert?

Answer: Polish refugees.

on 16 November 1848, when, in a final patriotic gesture, he played for the benefit of Polish refugees. By this time he was very seriously ill, weighing under 99 pounds (i.e. less than 45 kg), and his doctors were aware that his sickness was at a terminal stage. 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 him an


Question: What was the diagnosis of Chopin's health condition at this time?

Answer: terminal

on 16 November 1848, when, in a final patriotic gesture, he played for the benefit of Polish refugees. By this time he was very seriously ill, weighing under 99 pounds (i.e. less than 45 kg), and his doctors were aware that his sickness was at a terminal stage. 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 him an


Question: Where was Chopin's last public performance?

Answer: London's Guildhall

answered that he was "closer to the grave than the nuptial bed." He gave a public concert in Glasgow on 27 September, and another in Edinburgh, at the Hopetoun Rooms on Queen Street (now Erskine House) on 4 October. In late October 1848, while staying at 10 Warriston Crescent in Edinburgh with the Polish physician Adam Łyszczyński, he wrote out his last will and testament—"a kind of disposition to be made of my stuff in the future, if I should drop dead somewhere", he wrote to Grzymała. Chopin made his last public appearance on a concert platform at London's Guildhall


Question: Who did Chopin play for while she sang?

Answer: Delfina Potocka

on 16 November 1848, when, in a final patriotic gesture, he played for the benefit of Polish refugees. By this time he was very seriously ill, weighing under 99 pounds (i.e. less than 45 kg), and his doctors were aware that his sickness was at a terminal stage. 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 him an


Question: In 1849 where did Chopin live?

Answer: Chaillot

apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. 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 for the worse, only a handful of his closest friends remained with


Question: Who was anonymously paying for Chopin's apartment?

Answer: Princess Obreskoff

apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. 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 for the worse, only a handful of his closest friends remained with


Question: When did Chopin return to Paris?

Answer: November

on 16 November 1848, when, in a final patriotic gesture, he played for the benefit of Polish refugees. By this time he was very seriously ill, weighing under 99 pounds (i.e. less than 45 kg), and his doctors were aware that his sickness was at a terminal stage. 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 him an


Question: Chopin accompanied which singer for friends?

Answer: Delfina Potocka

on 16 November 1848, when, in a final patriotic gesture, he played for the benefit of Polish refugees. By this time he was very seriously ill, weighing under 99 pounds (i.e. less than 45 kg), and his doctors were aware that his sickness was at a terminal stage. 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 him an


Question: Where did his friends found Chopin an apartment in 1849?

Answer: Chaillot

apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. 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 for the worse, only a handful of his closest friends remained with


Question: Who paid for Chopin's apartment in Chaillot?

Answer: Princess Obreskoff.

apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. 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 for the worse, only a handful of his closest friends remained with


Question: When did Jenny Lind visit Chopin?

Answer: June 1849

apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. 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 for the worse, only a handful of his closest friends remained with


Question: When did his sister come to stay with Chopin?

Answer: June 1849

apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. 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 for the worse, only a handful of his closest friends remained with


Question: In September 1849 where did Chopin take up residence?

Answer: Place Vendôme 12

apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. 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 for the worse, only a handful of his closest friends remained with


Question: Which family member came to Paris in June 1849?

Answer: his sister

apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. 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 for the worse, only a handful of his closest friends remained with


Question: Who accompanied Chopin's sister to Paris?

Answer: her husband and daughter

apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. 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 for the worse, only a handful of his closest friends remained with


Question: Who gave Chopin a loan in September for an apartment?

Answer: Jane Stirling

apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind. 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 for the worse, only a handful of his closest friends remained with


Question: What did Parisian ladies consider proper etiquette when in Chopin's room?

Answer: to faint

him, although Viardot remarked sardonically that "all the grand Parisian ladies considered it "de rigueur" to faint in his room." Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin bequeathed his unfinished notes on a piano tuition method, "Projet de méthode", to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess


Question: What did Chopin reply to the doctor when asked is he was suffering?

Answer: "No longer"

him, although Viardot remarked sardonically that "all the grand Parisian ladies considered it "de rigueur" to faint in his room." Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin bequeathed his unfinished notes on a piano tuition method, "Projet de méthode", to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess


Question: Who made Chopin's death mask?

Answer: Clésinger

Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. 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. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and


Question: What did Solange's husband make hours after Chopin's death along with his death mask?

Answer: a cast of his left hand.

Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. 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. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and


Question: What is listed as Chopin's official cause of death?

Answer: tuberculosis

Cruveilhier, was then the leading French authority on this disease. Other possibilities that have been advanced have included cystic fibrosis, cirrhosis, and alpha 1-antitrypsin deficiency. An examination of Chopin's preserved heart, conducted in 2014 and published in 2017, confirmed that the likely cause of his death was a rare case of pericarditis caused by complications of chronic tuberculosis. Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music. Chopin was educated in


Question: What was the cause of death on Chopin's death certificate?

Answer: tuberculosis

Cruveilhier, was then the leading French authority on this disease. Other possibilities that have been advanced have included cystic fibrosis, cirrhosis, and alpha 1-antitrypsin deficiency. An examination of Chopin's preserved heart, conducted in 2014 and published in 2017, confirmed that the likely cause of his death was a rare case of pericarditis caused by complications of chronic tuberculosis. Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music. Chopin was educated in


Question: Who was Chopin's physician?

Answer: Jean Cruveilhier

to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. As requested by Chopin, Ludwika took his heart (which had been removed by his doctor Jean Cruveilhier and preserved in alcohol in a vase), back to Poland in 1850. She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who destroyed them. Chopin's disease and the cause of his death have been a matter of discussion. His death certificate gave the cause of death as tuberculosis, and his physician,


Question: Other possiblities for Chopin's death include cirrhosis, alpha 1-antitrypsin deficiency, and what?

Answer: cystic fibrosis

Cruveilhier, was then the leading French authority on this disease. Other possibilities that have been advanced have included cystic fibrosis, cirrhosis, and alpha 1-antitrypsin deficiency. An examination of Chopin's preserved heart, conducted in 2014 and published in 2017, confirmed that the likely cause of his death was a rare case of pericarditis caused by complications of chronic tuberculosis. Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music. Chopin was educated in


Question: Who has denied testing Chopin's DNA to determine the actual cause of death?

Answer: the Polish government.

such a request in 2008, but permission was denied by the Polish government. In 2017, an autopsy was at last performed on Chopin's alcohol-preserved heart, under the direction of Professor Witt of the Polish Academy of Sciences. It revealed that a rare case of pericarditis, caused by complications from chronic tuberculosis, was the likely cause of Chopin's death. A number of alternative hypotheses about the cause of Chopin's death flourished over the years. The hypothesis that Chopin suffered from cystic fibrosis was first presented by O’Shea in 1987. Chopin possibly was sexually active from early adulthood, but left no descendants.


Question: Where was Chopin's funeral held?

Answer: the Church of the Madeleine in Paris

Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. 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. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and


Question: How long was Chopin's funeral delayed?

Answer: two weeks

Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. 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. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and


Question: How many people arrived for Chopin's funeral?

Answer: Over 3,000

Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. 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. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and


Question: Where was Chopin's funeral held?

Answer: the Church of the Madeleine in Paris

Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. 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. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and


Question: How long was Chopin's funeral delayed?

Answer: two weeks

Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. 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. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and


Question: How many people arrived without an invitation?

Answer: Over 3,000

Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. 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. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and


Question: What song was sung at Chopin's funeral?

Answer: Mozart's Requiem

Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. 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. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and


Question: Who was the organist at Chopin's funeral?

Answer: Louis Lefébure-Wély

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 funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the "Funeral March" from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation. 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


Question: Who led Chopin's funeral procession?

Answer: Prince Adam Czartoryski

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 funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the "Funeral March" from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation. 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


Question: What Mozart song was sung at Chopin's funeral?

Answer: Mozart's Requiem

Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand. 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. Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anaïs Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and


Question: Who was the organist for Chopin's funeral?

Answer: Louis Lefébure-Wély

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 funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the "Funeral March" from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation. 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


Question: Which cemetery was Chopin buried in?

Answer: Père Lachaise Cemetery

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 funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the "Funeral March" from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation. 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


Question: Who led the funeral procession?

Answer: Prince Adam Czartoryski

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 funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the "Funeral March" from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation. 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


Question: Who sculpted Chopin's tombstone?

Answer: Clésinger

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 funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the "Funeral March" from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation. 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


Question: What is the name of the muse carved on Chopin's tombstone?

Answer: Euterpe

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 funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the "Funeral March" from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation. 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


Question: How much did Chopin's funeral cost?

Answer: 5,000 francs

to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. As requested by Chopin, Ludwika took his heart (which had been removed by his doctor Jean Cruveilhier and preserved in alcohol in a vase), back to Poland in 1850. She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who destroyed them. Chopin's disease and the cause of his death have been a matter of discussion. His death certificate gave the cause of death as tuberculosis, and his physician,


Question: Who paid for Chopin's funeral?

Answer: Jane Stirling

to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. As requested by Chopin, Ludwika took his heart (which had been removed by his doctor Jean Cruveilhier and preserved in alcohol in a vase), back to Poland in 1850. She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who destroyed them. Chopin's disease and the cause of his death have been a matter of discussion. His death certificate gave the cause of death as tuberculosis, and his physician,


Question: Chopin's sister Ludwika took his heart back to Warsaw preserved in what?

Answer: alcohol

to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. As requested by Chopin, Ludwika took his heart (which had been removed by his doctor Jean Cruveilhier and preserved in alcohol in a vase), back to Poland in 1850. She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who destroyed them. Chopin's disease and the cause of his death have been a matter of discussion. His death certificate gave the cause of death as tuberculosis, and his physician,


Question: Who paid for Chopin's funeral?

Answer: Jane Stirling

to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. As requested by Chopin, Ludwika took his heart (which had been removed by his doctor Jean Cruveilhier and preserved in alcohol in a vase), back to Poland in 1850. She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who destroyed them. Chopin's disease and the cause of his death have been a matter of discussion. His death certificate gave the cause of death as tuberculosis, and his physician,


Question: Who took Chopin's heart to Poland?

Answer: sister

to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. As requested by Chopin, Ludwika took his heart (which had been removed by his doctor Jean Cruveilhier and preserved in alcohol in a vase), back to Poland in 1850. She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who destroyed them. Chopin's disease and the cause of his death have been a matter of discussion. His death certificate gave the cause of death as tuberculosis, and his physician,


Question: Who ended up with the 200 letters from Sand to Chopin?

Answer: Sand

to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. As requested by Chopin, Ludwika took his heart (which had been removed by his doctor Jean Cruveilhier and preserved in alcohol in a vase), back to Poland in 1850. She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who destroyed them. Chopin's disease and the cause of his death have been a matter of discussion. His death certificate gave the cause of death as tuberculosis, and his physician,


Question: How many of Chopin's works still exist?

Answer: Over 230

Cruveilhier, was then the leading French authority on this disease. Other possibilities that have been advanced have included cystic fibrosis, cirrhosis, and alpha 1-antitrypsin deficiency. An examination of Chopin's preserved heart, conducted in 2014 and published in 2017, confirmed that the likely cause of his death was a rare case of pericarditis caused by complications of chronic tuberculosis. Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music. Chopin was educated in


Question: All of his pieces include what instrument?

Answer: piano

Cruveilhier, was then the leading French authority on this disease. Other possibilities that have been advanced have included cystic fibrosis, cirrhosis, and alpha 1-antitrypsin deficiency. An examination of Chopin's preserved heart, conducted in 2014 and published in 2017, confirmed that the likely cause of his death was a rare case of pericarditis caused by complications of chronic tuberculosis. Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music. Chopin was educated in


Question: How many Chopin pieces are known to have survived?

Answer: Over 230

Cruveilhier, was then the leading French authority on this disease. Other possibilities that have been advanced have included cystic fibrosis, cirrhosis, and alpha 1-antitrypsin deficiency. An examination of Chopin's preserved heart, conducted in 2014 and published in 2017, confirmed that the likely cause of his death was a rare case of pericarditis caused by complications of chronic tuberculosis. Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music. Chopin was educated in


Question: Only a few of Chopin's pieces involve more than the piano, including piano concertos, songs and what?

Answer: chamber music.

Cruveilhier, was then the leading French authority on this disease. Other possibilities that have been advanced have included cystic fibrosis, cirrhosis, and alpha 1-antitrypsin deficiency. An examination of Chopin's preserved heart, conducted in 2014 and published in 2017, confirmed that the likely cause of his death was a rare case of pericarditis caused by complications of chronic tuberculosis. Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music. Chopin was educated in


Question: Whose piano method did Chopin teach his students?

Answer: Clementi

the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for


Question: Whose piano method did Chopin use with his students?

Answer: Clementi

the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for


Question: Who did Chopin say were the two most important composers in his own music influences?

Answer: Bach and Mozart

the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for


Question: Chopin looked to Beethoven, Mozart, Clementi and who for his own music education?

Answer: Haydn

the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for


Question: Chopin was the first person to create what as singular concert pieces?

Answer: ballades and scherzi

example, his "fioriture") is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones. 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 exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s


Question: What new genre di John Field invent?

Answer: nocturne

example, his "fioriture") is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones. 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 exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s


Question: Chopin was first in writing what for concerts?

Answer: ballades and scherzi

example, his "fioriture") is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones. 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 exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s


Question: What musical concept did Chopin exploit?

Answer: concert étude

example, his "fioriture") is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones. 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 exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s


Question: What three other musicians were developing the new genre?

Answer: Liszt, Clementi and Moscheles

by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). 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; as J. Barrie Jones puts it, "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.


Question: How many polonaises were published while Chopin lived?

Answer: seven

by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). 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; as J. Barrie Jones puts it, "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.


Question: How many polonaises were published after Chopin died?

Answer: nine

by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). 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; as J. Barrie Jones puts it, "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.


Question: Chopin was credited for making what more internationally known?

Answer: mazurkas

by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). 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; as J. Barrie Jones puts it, "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.


Question: What is different about Chopin's waltzes versus a ballroom waltz?

Answer: faster tempos

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. Some of Chopin's well-known pieces have acquired descriptive titles, such as the "Revolutionary" Étude (Op. 10, No. 12), and the "Minute Waltz" (Op. 64, No. 1). However, with the exception of his "Funeral March", the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are


Question: What did Chopin add to the modern dance of his era?

Answer: greater range of melody and expression.

by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). 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; as J. Barrie Jones puts it, "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.


Question: Chopin's Polish dance music was developed for what type of hall?

Answer: concert hall

by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). 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; as J. Barrie Jones puts it, "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.


Question: What was Chopin responsible for making popular with Euorpeans?

Answer: the mazurka

by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). 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; as J. Barrie Jones puts it, "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.


Question: How many Chopin polonaises were published after his death?

Answer: nine

by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). 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; as J. Barrie Jones puts it, "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.


Question: What dance music of Chopin was written more for recitals than ballrooms?

Answer: waltzes

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. Some of Chopin's well-known pieces have acquired descriptive titles, such as the "Revolutionary" Étude (Op. 10, No. 12), and the "Minute Waltz" (Op. 64, No. 1). However, with the exception of his "Funeral March", the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are


Question: What is the only piece Chopin gave an actual title to?

Answer: Funeral March

known were invented by others. There is no evidence to suggest that the "Revolutionary" Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The "Funeral March", the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it. 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


Question: The Funeral March was written as part of what piece?

Answer: Sonata No. 2

known were invented by others. There is no evidence to suggest that the "Revolutionary" Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The "Funeral March", the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it. 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


Question: How many instrumental works did Chopin give a descriptive name to?

Answer: one

known were invented by others. There is no evidence to suggest that the "Revolutionary" Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The "Funeral March", the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it. 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


Question: What descriptive name was Op. 10, No. 12 given?

Answer: Revolutionary Étude

they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names ""Tristesse"" ("Sadness") or "Farewell" (""L'Adieu""), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation. All twenty-seven études were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1836, and were published in the same countries in 1837. The final


Question: What descriptive name was Op. 64, No. 1 given?

Answer: Minute Waltz

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. Some of Chopin's well-known pieces have acquired descriptive titles, such as the "Revolutionary" Étude (Op. 10, No. 12), and the "Minute Waltz" (Op. 64, No. 1). However, with the exception of his "Funeral March", the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are


Question: What was the last number Chopin gave to an opus?

Answer: 65

known were invented by others. There is no evidence to suggest that the "Revolutionary" Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The "Funeral March", the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it. 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


Question: Who was Chopin's musical executor?

Answer: Julian Fontana

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. Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the


Question: How many unfinished pieces did Julian Fontana make into eight more opus numbers?

Answer: 23

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. Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the


Question: Op. 74 is made up of how many Polish songs?

Answer: 17

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. Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the


Question: What is the last opus number that Chopin used?

Answer: 65

known were invented by others. There is no evidence to suggest that the "Revolutionary" Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The "Funeral March", the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it. 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


Question: Who grouped 23 unpublished pieces and published them as Opp. 66-73 in 1855?

Answer: Julian Fontana

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. Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the


Question: When was Op. 74 published?

Answer: 1857

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. Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the


Question: The Kobylańska Catalogue was named for who?

Answer: Krystyna Kobylańska

initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. 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. Chopin published his music in France, England and the German states due to the copyright laws


Question: Pieces published after what year stopped receiving opus numbers?

Answer: 1857

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. Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the


Question: What have pieces published after 1857 been given rather than opus numbers?

Answer: alternative catalogue designations

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. Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the


Question: What is the current musicologist reference for Chopin's pieces?

Answer: the Kobylańska Catalogue

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. Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the


Question: Who compiled the Kobylańska Catalogue?

Answer: Krystyna Kobylańska.

initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. 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. Chopin published his music in France, England and the German states due to the copyright laws


Question: Who released the first collection of Chopin's works?

Answer: Breitkopf & Härtel

initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. 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. Chopin published his music in France, England and the German states due to the copyright laws


Question: Who edited the Polish "National Edition" of Chopin's works?

Answer: Jan Ekier

initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. 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. Chopin published his music in France, England and the German states due to the copyright laws


Question: Where did Chopin's work start t oshow up?

Answer: popular 19th-century piano anthologies.

initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. 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. Chopin published his music in France, England and the German states due to the copyright laws


Question: What was the name under scholarly publications of Chopin's work form 1937 to 1966?

Answer: Paderewski

initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. 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. Chopin published his music in France, England and the German states due to the copyright laws


Question: Who edited the Polish National Edition?

Answer: Jan Ekier

initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. 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. Chopin published his music in France, England and the German states due to the copyright laws


Question: What is central to Chopin's process?

Answer: Improvisation

of the time. As such there are often three different kinds of ‘first editions’. Each edition is different from the other, as Chopin edited them separately and at times he did some revision to the music while editing it. Furthermore, Chopin provided his publishers with varying sources, including autographs, annotated proofsheets and scribal copies. Only recently have these differences gained greater recognition. 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


Question: Rosen suggests that a central part of Chopin's uniqueness is how he handles what?

Answer: the four-bar phrase

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. J. Barrie Jones suggests


Question: What is central to Chopin's creativeness?

Answer: Improvisation

of the time. As such there are often three different kinds of ‘first editions’. Each edition is different from the other, as Chopin edited them separately and at times he did some revision to the music while editing it. Furthermore, Chopin provided his publishers with varying sources, including autographs, annotated proofsheets and scribal copies. Only recently have these differences gained greater recognition. 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


Question: What did Rosen suggest was important about chopin's personality?

Answer: his flexible handling of the four-bar phrase as a structural unit.

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. J. Barrie Jones suggests


Question: What piece does J. Barrie Jones pinpoint as a great example of Chopin's palette?

Answer: the Barcarolle Op. 60

that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last


Question: What does J. Barrie Jones feel stands supreme of Chopin's concert pieces?

Answer: the four ballades and four scherzos

that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last


Question: What form does Temperley feel that Chopin's ballades and scherzos are based on?

Answer: departure and return

that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last


Question: Chopin's mazurkas contain more of what than his other compositions?

Answer: folk features

comes." 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. Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Żywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time


Question: What form are Chopin's mazurkas and waltzes in?

Answer: straightforward ternary or episodic form, sometimes with a coda.

comes." 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. Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Żywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time


Question: Which of Chopin's works shows more folk aspects?

Answer: mazurkas

comes." 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. Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Żywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time


Question: What does Chopin's Op. 63 No. 3 have that is rare?

Answer: a canon at one beat's distance

comes." 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. Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Żywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time


Question: What time are Chopin's polonaises written in?

Answer: triple time

comes." 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. Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Żywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time


Question: Chopin's ability to create an advanced polonasises surpassed even two of his teachers, Zywny and who?

Answer: Elsner

comes." 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. Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Żywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time


Question: Chopin's polonaise often have what kind of rhythm in their melodies?

Answer: martial

and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. 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. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves


Question: Chopin's polonaises needed what kind of playing technique?

Answer: formidable

and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. 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. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves


Question: How many nocturnes did Chopin compose?

Answer: 21

and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. 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. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves


Question: What is it about the middle of Chopin's nocturnes that increases their drama?

Answer: agitated expression

and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. 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. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves


Question: Chopin's nocturnes were more structured than who?

Answer: Field

and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. 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. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves


Question: What year did Chopin meet Field?

Answer: 1833

and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. 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. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves


Question: Which type of Chopin's compositons were difficult for perfomers due to their middle sections?

Answer: nocturnes

and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. 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. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves


Question: What pieces of his did Chopin use to teach his technique?

Answer: études

and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. 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. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves


Question: What form are most of Chopin's études in?

Answer: straightforward ternary

and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. 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. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves


Question: Chopin often taught his piano technique using what form of music he wrote?

Answer: études

and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique. 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. Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves


Question: What piece of Bach's did Chopin take inspiration for his preludes?

Answer: The Well-Tempered Clavier

(Op. 25, No. 10), and playing repeated notes (Op. 10, No. 7). 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


Question: Who suggested that Chopin's preludes were not intended to be played as a group?

Answer: Kenneth Hamilton

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. 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 the