context stringlengths 152 1.15k | question stringlengths 13 207 | answer stringlengths 1 171 ⌀ | context_length int64 22 175 | question_length int64 3 30 | answer_length int64 0 30 |
|---|---|---|---|---|---|
chopin ' s disease and the cause of his death have since been a matter of discussion . his death certificate gave the cause as tuberculosis , and his physician , jean cruveilhier , was then the leading french authority on this disease . other possibilities have been advanced including cystic fibrosis , cirrhosis and al... | other possiblities for chopin ' s death include cirrhosis , alpha 1 antitrypsin deficiency , and what ? | cystic fibrosis | 97 | 18 | 2 |
chopin ' s disease and the cause of his death have since been a matter of discussion . his death certificate gave the cause as tuberculosis , and his physician , jean cruveilhier , was then the leading french authority on this disease . other possibilities have been advanced including cystic fibrosis , cirrhosis and al... | who has denied testing chopin ' s dna to determine the actual cause of death ? | the polish government . | 97 | 16 | 4 |
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 . | where was chopin ' s funeral held ? | church of the madeleine | 60 | 8 | 4 |
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 . | how long was chopin ' s funeral delayed ? | two weeks | 60 | 9 | 2 |
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 . | how many people arrived for chopin ' s funeral ? | over 3 , 000 | 60 | 10 | 4 |
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 . | where was chopin ' s funeral held ? | the church of the madeleine in paris | 60 | 8 | 7 |
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 . | how long was chopin ' s funeral delayed ? | two weeks | 60 | 9 | 2 |
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 . | how many people arrived without an invitation ? | over 3 , 000 | 60 | 8 | 4 |
mozart ' s requiem was sung at the funeral the soloists were the soprano jeanne anais castellan , the mezzo soprano pauline viardot , the tenor alexis dupont , and the bass luigi lablache chopin ' s preludes no . 4 in e minor and no . 6 in b minor were also played . the organist at the funeral was louis lef bure w ly .... | what song was sung at chopin ' s funeral ? | mozart ' s requiem | 129 | 10 | 4 |
mozart ' s requiem was sung at the funeral the soloists were the soprano jeanne anais castellan , the mezzo soprano pauline viardot , the tenor alexis dupont , and the bass luigi lablache chopin ' s preludes no . 4 in e minor and no . 6 in b minor were also played . the organist at the funeral was louis lef bure w ly .... | who was the organist at chopin ' s funeral ? | louis lef bure w ly | 129 | 10 | 5 |
mozart ' s requiem was sung at the funeral the soloists were the soprano jeanne anais castellan , the mezzo soprano pauline viardot , the tenor alexis dupont , and the bass luigi lablache chopin ' s preludes no . 4 in e minor and no . 6 in b minor were also played . the organist at the funeral was louis lef bure w ly .... | who led chopin ' s funeral procession ? | prince adam czartoryski | 129 | 8 | 3 |
mozart ' s requiem was sung at the funeral the soloists were the soprano jeanne anais castellan , the mezzo soprano pauline viardot , the tenor alexis dupont , and the bass luigi lablache chopin ' s preludes no . 4 in e minor and no . 6 in b minor were also played . the organist at the funeral was louis lef bure w ly .... | what was played at his graveside ? | funeral march from chopin ' s piano sonata no . 2 | 129 | 7 | 11 |
mozart ' s requiem was sung at the funeral the soloists were the soprano jeanne anais castellan , the mezzo soprano pauline viardot , the tenor alexis dupont , and the bass luigi lablache chopin ' s preludes no . 4 in e minor and no . 6 in b minor were also played . the organist at the funeral was louis lef bure w ly .... | what mozart song was sung at chopin ' s funeral ? | mozart ' s requiem | 129 | 11 | 4 |
mozart ' s requiem was sung at the funeral the soloists were the soprano jeanne anais castellan , the mezzo soprano pauline viardot , the tenor alexis dupont , and the bass luigi lablache chopin ' s preludes no . 4 in e minor and no . 6 in b minor were also played . the organist at the funeral was louis lef bure w ly .... | who was the organist for chopin ' s funeral ? | louis lef bure w ly | 129 | 10 | 5 |
mozart ' s requiem was sung at the funeral the soloists were the soprano jeanne anais castellan , the mezzo soprano pauline viardot , the tenor alexis dupont , and the bass luigi lablache chopin ' s preludes no . 4 in e minor and no . 6 in b minor were also played . the organist at the funeral was louis lef bure w ly .... | which cemetery was chopin buried in ? | p re lachaise cemetery | 129 | 7 | 4 |
mozart ' s requiem was sung at the funeral the soloists were the soprano jeanne anais castellan , the mezzo soprano pauline viardot , the tenor alexis dupont , and the bass luigi lablache chopin ' s preludes no . 4 in e minor and no . 6 in b minor were also played . the organist at the funeral was louis lef bure w ly .... | who led the funeral procession ? | prince adam czartoryski | 129 | 6 | 3 |
mozart ' s requiem was sung at the funeral the soloists were the soprano jeanne anais castellan , the mezzo soprano pauline viardot , the tenor alexis dupont , and the bass luigi lablache chopin ' s preludes no . 4 in e minor and no . 6 in b minor were also played . the organist at the funeral was louis lef bure w ly .... | what was played at chopin ' s graveside ? | the funeral march from chopin ' s piano sonata no . 2 | 129 | 9 | 12 |
chopin ' s tombstone , featuring the muse of music , euterpe , weeping over a broken lyre , was designed and sculpted by cl singer . the expenses of the funeral and monument , amounting to 5 , 000 francs , were covered by jane stirling , who also paid for the return of the composer ' s sister ludwika to warsaw . ludwik... | who sculpted chopin ' s tombstone ? | cl singer | 114 | 7 | 2 |
chopin ' s tombstone , featuring the muse of music , euterpe , weeping over a broken lyre , was designed and sculpted by cl singer . the expenses of the funeral and monument , amounting to 5 , 000 francs , were covered by jane stirling , who also paid for the return of the composer ' s sister ludwika to warsaw . ludwik... | what is the name of the muse carved on chopin ' s tombstone ? | euterpe | 114 | 14 | 1 |
chopin ' s tombstone , featuring the muse of music , euterpe , weeping over a broken lyre , was designed and sculpted by cl singer . the expenses of the funeral and monument , amounting to 5 , 000 francs , were covered by jane stirling , who also paid for the return of the composer ' s sister ludwika to warsaw . ludwik... | how much did chopin ' s funeral cost ? | 5 , 000 francs | 114 | 9 | 4 |
chopin ' s tombstone , featuring the muse of music , euterpe , weeping over a broken lyre , was designed and sculpted by cl singer . the expenses of the funeral and monument , amounting to 5 , 000 francs , were covered by jane stirling , who also paid for the return of the composer ' s sister ludwika to warsaw . ludwik... | who paid for chopin ' s funeral ? | jane stirling | 114 | 8 | 2 |
chopin ' s tombstone , featuring the muse of music , euterpe , weeping over a broken lyre , was designed and sculpted by cl singer . the expenses of the funeral and monument , amounting to 5 , 000 francs , were covered by jane stirling , who also paid for the return of the composer ' s sister ludwika to warsaw . ludwik... | chopin ' s sister ludwika took his heart back to warsaw preserved in what ? | alcohol | 114 | 15 | 1 |
chopin ' s tombstone , featuring the muse of music , euterpe , weeping over a broken lyre , was designed and sculpted by cl singer . the expenses of the funeral and monument , amounting to 5 , 000 francs , were covered by jane stirling , who also paid for the return of the composer ' s sister ludwika to warsaw . ludwik... | who designed chopin ' s tombstone ? | cl singer . | 114 | 7 | 3 |
chopin ' s tombstone , featuring the muse of music , euterpe , weeping over a broken lyre , was designed and sculpted by cl singer . the expenses of the funeral and monument , amounting to 5 , 000 francs , were covered by jane stirling , who also paid for the return of the composer ' s sister ludwika to warsaw . ludwik... | how much did chopin ' s funeral and monument cost ? | 5 , 000 francs | 114 | 11 | 4 |
chopin ' s tombstone , featuring the muse of music , euterpe , weeping over a broken lyre , was designed and sculpted by cl singer . the expenses of the funeral and monument , amounting to 5 , 000 francs , were covered by jane stirling , who also paid for the return of the composer ' s sister ludwika to warsaw . ludwik... | who paid for chopin ' s funeral ? | jane stirling | 114 | 8 | 2 |
chopin ' s tombstone , featuring the muse of music , euterpe , weeping over a broken lyre , was designed and sculpted by cl singer . the expenses of the funeral and monument , amounting to 5 , 000 francs , were covered by jane stirling , who also paid for the return of the composer ' s sister ludwika to warsaw . ludwik... | who took chopin ' s heart to poland ? | sister | 114 | 9 | 1 |
chopin ' s tombstone , featuring the muse of music , euterpe , weeping over a broken lyre , was designed and sculpted by cl singer . the expenses of the funeral and monument , amounting to 5 , 000 francs , were covered by jane stirling , who also paid for the return of the composer ' s sister ludwika to warsaw . ludwik... | who ended up with the 200 letters from sand to chopin ? | sand | 114 | 12 | 1 |
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 . | how many of chopin ' s works still exist ? | over 230 | 43 | 10 | 2 |
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 . | all of his pieces include what instrument ? | piano | 43 | 8 | 1 |
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 . | how many chopin pieces are known to have survived ? | over 230 | 43 | 10 | 2 |
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 . | only a few of chopin ' s pieces involve more than the piano , including piano concertos , songs and what ? | chamber music . | 43 | 22 | 3 |
chopin was educated in 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 o... | whose piano method did chopin teach his students ? | clementi | 157 | 9 | 1 |
chopin was educated in 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 o... | whose piano method did chopin use with his students ? | clementi | 157 | 10 | 1 |
chopin was educated in 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 o... | who did chopin say were the two most important composers in his own music influences ? | bach and mozart | 157 | 16 | 3 |
chopin was educated in 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 o... | chopin looked to beethoven , mozart , clementi and who for his own music education ? | haydn | 157 | 16 | 1 |
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 )... | who is credited with creating the nocturne ? | john field | 111 | 8 | 2 |
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 )... | chopin was the first person to create what as singular concert pieces ? | ballades and scherzi | 111 | 13 | 3 |
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 )... | what new genre di john field invent ? | nocturne | 111 | 8 | 1 |
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 )... | chopin was first in writing what for concerts ? | ballades and scherzi | 111 | 9 | 3 |
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 )... | what musical concept did chopin exploit ? | concert tude | 111 | 7 | 2 |
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 )... | what three other musicians were developing the new genre ? | liszt , clementi and moscheles | 111 | 10 | 5 |
chopin also endowed popular dance forms with a greater range of melody and expression . chopin ' s mazurkas , while originating in the traditional polish dance ( the mazurek ) , differed from the traditional variety in that they were written for the concert hall rather than the dance hall " it was chopin who put the ma... | how many polonaises were published while chopin lived ? | seven | 132 | 9 | 1 |
chopin also endowed popular dance forms with a greater range of melody and expression . chopin ' s mazurkas , while originating in the traditional polish dance ( the mazurek ) , differed from the traditional variety in that they were written for the concert hall rather than the dance hall " it was chopin who put the ma... | how many polonaises were published after chopin died ? | nine | 132 | 9 | 1 |
chopin also endowed popular dance forms with a greater range of melody and expression . chopin ' s mazurkas , while originating in the traditional polish dance ( the mazurek ) , differed from the traditional variety in that they were written for the concert hall rather than the dance hall " it was chopin who put the ma... | chopin was credited for making what more internationally known ? | mazurkas | 132 | 10 | 1 |
chopin also endowed popular dance forms with a greater range of melody and expression . chopin ' s mazurkas , while originating in the traditional polish dance ( the mazurek ) , differed from the traditional variety in that they were written for the concert hall rather than the dance hall " it was chopin who put the ma... | what is different about chopin ' s waltzes versus a ballroom waltz ? | faster tempos | 132 | 13 | 2 |
chopin also endowed popular dance forms with a greater range of melody and expression . chopin ' s mazurkas , while originating in the traditional polish dance ( the mazurek ) , differed from the traditional variety in that they were written for the concert hall rather than the dance hall " it was chopin who put the ma... | what did chopin add to the modern dance of his era ? | greater range of melody and expression . | 132 | 12 | 7 |
chopin also endowed popular dance forms with a greater range of melody and expression . chopin ' s mazurkas , while originating in the traditional polish dance ( the mazurek ) , differed from the traditional variety in that they were written for the concert hall rather than the dance hall " it was chopin who put the ma... | chopin ' s polish dance music was developed for what type of hall ? | concert hall | 132 | 14 | 2 |
chopin also endowed popular dance forms with a greater range of melody and expression . chopin ' s mazurkas , while originating in the traditional polish dance ( the mazurek ) , differed from the traditional variety in that they were written for the concert hall rather than the dance hall " it was chopin who put the ma... | what was chopin responsible for making popular with euorpeans ? | the mazurka | 132 | 10 | 2 |
chopin also endowed popular dance forms with a greater range of melody and expression . chopin ' s mazurkas , while originating in the traditional polish dance ( the mazurek ) , differed from the traditional variety in that they were written for the concert hall rather than the dance hall " it was chopin who put the ma... | how many chopin polonaises were published after his death ? | nine | 132 | 10 | 1 |
chopin also endowed popular dance forms with a greater range of melody and expression . chopin ' s mazurkas , while originating in the traditional polish dance ( the mazurek ) , differed from the traditional variety in that they were written for the concert hall rather than the dance hall " it was chopin who put the ma... | what dance music of chopin was written more for recitals than ballrooms ? | waltzes | 132 | 13 | 1 |
some of chopin ' s well known pieces have acquired descriptive titles , such as the revolutionary tude ( 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 ext... | what is another title op . 10 , no . 12 has garnered ? | the revolutionary tude | 166 | 14 | 3 |
some of chopin ' s well known pieces have acquired descriptive titles , such as the revolutionary tude ( 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 ext... | what is the only piece chopin gave an actual title to ? | funeral march | 166 | 12 | 2 |
some of chopin ' s well known pieces have acquired descriptive titles , such as the revolutionary tude ( 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 ext... | the funeral march was written as part of what piece ? | sonata no . 2 | 166 | 11 | 4 |
some of chopin ' s well known pieces have acquired descriptive titles , such as the revolutionary tude ( 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 ext... | how many instrumental works did chopin give a descriptive name to ? | one | 166 | 12 | 1 |
some of chopin ' s well known pieces have acquired descriptive titles , such as the revolutionary tude ( 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 ext... | what descriptive name was op . 10 , no . 12 given ? | revolutionary tude | 166 | 13 | 2 |
some of chopin ' s well known pieces have acquired descriptive titles , such as the revolutionary tude ( 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 ext... | what descriptive name was op . 64 , no . 1 given ? | minute waltz | 166 | 13 | 2 |
the last opus number that chopin himself used was 65 , allocated to the cello sonata in g minor . he expressed a deathbed wish that all his unpublished manuscripts be destroyed . at the request of the composer ' s mother and sisters , however , his musical executor julian fontana selected 23 unpublished piano pieces an... | what was the last number chopin gave to an opus ? | 65 | 114 | 11 | 1 |
the last opus number that chopin himself used was 65 , allocated to the cello sonata in g minor . he expressed a deathbed wish that all his unpublished manuscripts be destroyed . at the request of the composer ' s mother and sisters , however , his musical executor julian fontana selected 23 unpublished piano pieces an... | who was chopin ' s musical executor ? | julian fontana | 114 | 8 | 2 |
the last opus number that chopin himself used was 65 , allocated to the cello sonata in g minor . he expressed a deathbed wish that all his unpublished manuscripts be destroyed . at the request of the composer ' s mother and sisters , however , his musical executor julian fontana selected 23 unpublished piano pieces an... | how many unfinished pieces did julian fontana make into eight more opus numbers ? | 23 | 114 | 14 | 1 |
the last opus number that chopin himself used was 65 , allocated to the cello sonata in g minor . he expressed a deathbed wish that all his unpublished manuscripts be destroyed . at the request of the composer ' s mother and sisters , however , his musical executor julian fontana selected 23 unpublished piano pieces an... | op . 74 is made up of how many polish songs ? | 17 | 114 | 12 | 1 |
the last opus number that chopin himself used was 65 , allocated to the cello sonata in g minor . he expressed a deathbed wish that all his unpublished manuscripts be destroyed . at the request of the composer ' s mother and sisters , however , his musical executor julian fontana selected 23 unpublished piano pieces an... | what is the last opus number that chopin used ? | 65 | 114 | 10 | 1 |
the last opus number that chopin himself used was 65 , allocated to the cello sonata in g minor . he expressed a deathbed wish that all his unpublished manuscripts be destroyed . at the request of the composer ' s mother and sisters , however , his musical executor julian fontana selected 23 unpublished piano pieces an... | who grouped 23 unpublished pieces and published them as opp . 66 73 in 1855 ? | julian fontana | 114 | 16 | 2 |
the last opus number that chopin himself used was 65 , allocated to the cello sonata in g minor . he expressed a deathbed wish that all his unpublished manuscripts be destroyed . at the request of the composer ' s mother and sisters , however , his musical executor julian fontana selected 23 unpublished piano pieces an... | when was op . 74 published ? | 1857 | 114 | 7 | 1 |
works published since 1857 have received alternative catalogue designations instead of opus numbers . the present standard musicological reference for chopin ' s works is the kobyla ska catalogue ( usually represented by the initials ' kk ' ) , named for its compiler , the polish musicologist krystyna kobyla ska . | the kobyla ska catalogue was named for who ? | krystyna kobyla ska | 52 | 9 | 3 |
works published since 1857 have received alternative catalogue designations instead of opus numbers . the present standard musicological reference for chopin ' s works is the kobyla ska catalogue ( usually represented by the initials ' kk ' ) , named for its compiler , the polish musicologist krystyna kobyla ska . | pieces published after what year stopped receiving opus numbers ? | 1857 | 52 | 10 | 1 |
works published since 1857 have received alternative catalogue designations instead of opus numbers . the present standard musicological reference for chopin ' s works is the kobyla ska catalogue ( usually represented by the initials ' kk ' ) , named for its compiler , the polish musicologist krystyna kobyla ska . | what have pieces published after 1857 been given rather than opus numbers ? | alternative catalogue designations | 52 | 13 | 3 |
works published since 1857 have received alternative catalogue designations instead of opus numbers . the present standard musicological reference for chopin ' s works is the kobyla ska catalogue ( usually represented by the initials ' kk ' ) , named for its compiler , the polish musicologist krystyna kobyla ska . | what is the current musicologist reference for chopin ' s pieces ? | the kobyla ska catalogue | 52 | 12 | 4 |
works published since 1857 have received alternative catalogue designations instead of opus numbers . the present standard musicological reference for chopin ' s works is the kobyla ska catalogue ( usually represented by the initials ' kk ' ) , named for its compiler , the polish musicologist krystyna kobyla ska . | what is the shortened reference for the kobyla ska catalogue ? | kk | 52 | 11 | 1 |
works published since 1857 have received alternative catalogue designations instead of opus numbers . the present standard musicological reference for chopin ' s works is the kobyla ska catalogue ( usually represented by the initials ' kk ' ) , named for its compiler , the polish musicologist krystyna kobyla ska . | who compiled the kobyla ska catalogue ? | krystyna kobyla ska . | 52 | 7 | 4 |
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 h rtel ( 1878 1902 ) . among modern scholarly editions of chopin ' s works are the version under the name of paderewski... | who released the first collection of chopin ' s works ? | breitkopf h rtel | 89 | 11 | 3 |
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 h rtel ( 1878 1902 ) . among modern scholarly editions of chopin ' s works are the version under the name of paderewski... | who edited the polish " national edition " of chopin ' s works ? | jan ekier | 89 | 14 | 2 |
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 h rtel ( 1878 1902 ) . among modern scholarly editions of chopin ' s works are the version under the name of paderewski... | maurice schlesinger and camille pleyel were what to chopin ? | original publishers | 89 | 10 | 2 |
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 h rtel ( 1878 1902 ) . among modern scholarly editions of chopin ' s works are the version under the name of paderewski... | where did chopin ' s work start t oshow up ? | popular 19th century piano anthologies . | 89 | 11 | 6 |
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 h rtel ( 1878 1902 ) . among modern scholarly editions of chopin ' s works are the version under the name of paderewski... | what was the name under scholarly publications of chopin ' s work form 1937 to 1966 ? | paderewski | 89 | 17 | 1 |
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 h rtel ( 1878 1902 ) . among modern scholarly editions of chopin ' s works are the version under the name of paderewski... | who edited the polish national edition ? | jan ekier | 89 | 7 | 2 |
improvisation stands at the centre of chopin ' s creative processes . however , this does not imply impulsive rambling : nicholas temperley writes that " improvisation is designed for an audience , and its starting point is that audience ' s expectations , which include the current conventions of musical form . " the w... | what is central to chopin ' s process ? | improvisation | 170 | 9 | 1 |
improvisation stands at the centre of chopin ' s creative processes . however , this does not imply impulsive rambling : nicholas temperley writes that " improvisation is designed for an audience , and its starting point is that audience ' s expectations , which include the current conventions of musical form . " the w... | rosen suggests that a central part of chopin ' s uniqueness is how he handles what ? | the four bar phrase | 170 | 17 | 4 |
improvisation stands at the centre of chopin ' s creative processes . however , this does not imply impulsive rambling : nicholas temperley writes that " improvisation is designed for an audience , and its starting point is that audience ' s expectations , which include the current conventions of musical form . " the w... | what is central to chopin ' s creativeness ? | improvisation | 170 | 9 | 1 |
improvisation stands at the centre of chopin ' s creative processes . however , this does not imply impulsive rambling : nicholas temperley writes that " improvisation is designed for an audience , and its starting point is that audience ' s expectations , which include the current conventions of musical form . " the w... | who wrote that " improvisation is designed for an audience " ? | nicholas temperley | 170 | 12 | 2 |
improvisation stands at the centre of chopin ' s creative processes . however , this does not imply impulsive rambling : nicholas temperley writes that " improvisation is designed for an audience , and its starting point is that audience ' s expectations , which include the current conventions of musical form . " the w... | what did rosen suggest was important about chopin ' s personality ? | his flexible handling of the four bar phrase as a structural unit . | 170 | 12 | 13 |
j . barrie jones suggests 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 thes... | what piece does j . barrie jones pinpoint as a great example of chopin ' s palette ? | the barcarolle op . 60 | 130 | 18 | 5 |
j . barrie jones suggests 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 thes... | what does j . barrie jones feel stands supreme of chopin ' s concert pieces ? | the four ballades and four scherzos | 130 | 16 | 6 |
j . barrie jones suggests 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 thes... | what form does temperley feel that chopin ' s ballades and scherzos are based on ? | departure and return | 130 | 16 | 3 |
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 examp... | chopin ' s mazurkas contain more of what than his other compositions ? | folk features | 81 | 13 | 2 |
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 examp... | what form are chopin ' s mazurkas and waltzes in ? | straightforward ternary or episodic form , sometimes with a coda . | 81 | 11 | 11 |
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 examp... | which of chopin ' s works shows more folk aspects ? | mazurkas | 81 | 11 | 1 |
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 examp... | what type of bass do chopin ' s mazurkas exhibit ? | drone bass | 81 | 11 | 2 |
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 examp... | what does chopin ' s op . 63 no . 3 have that is rare ? | a canon at one beat ' s distance | 81 | 16 | 8 |
chopin ' s polonaises show a marked advance on those of his polish predecessors in the form ( who included his teachers zywny and elsner ) . as with the traditional polonaise , chopin ' s works are in triple time and typically display a martial rhythm in their melodies , accompaniments and cadences . unlike most of the... | what time are chopin ' s polonaises written in ? | triple time | 69 | 10 | 2 |
chopin ' s polonaises show a marked advance on those of his polish predecessors in the form ( who included his teachers zywny and elsner ) . as with the traditional polonaise , chopin ' s works are in triple time and typically display a martial rhythm in their melodies , accompaniments and cadences . unlike most of the... | chopin ' s ability to create an advanced polonasises surpassed even two of his teachers , zywny and who ? | elsner | 69 | 20 | 1 |
chopin ' s polonaises show a marked advance on those of his polish predecessors in the form ( who included his teachers zywny and elsner ) . as with the traditional polonaise , chopin ' s works are in triple time and typically display a martial rhythm in their melodies , accompaniments and cadences . unlike most of the... | chopin ' s polonaise often have what kind of rhythm in their melodies ? | martial | 69 | 14 | 1 |
chopin ' s polonaises show a marked advance on those of his polish predecessors in the form ( who included his teachers zywny and elsner ) . as with the traditional polonaise , chopin ' s works are in triple time and typically display a martial rhythm in their melodies , accompaniments and cadences . unlike most of the... | chopin ' s polonaises needed what kind of playing technique ? | formidable | 69 | 11 | 1 |
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 . | how many nocturnes did chopin compose ? | 21 | 54 | 7 | 1 |
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 . | what is it about the middle of chopin ' s nocturnes that increases their drama ? | agitated expression | 54 | 16 | 2 |
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 nocturnes were more structured than who ? | field | 54 | 10 | 1 |
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 . | what year did chopin meet field ? | 1833 | 54 | 7 | 1 |
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 . | which type of chopin ' s compositons were difficult for perfomers due to their middle sections ? | nocturnes | 54 | 17 | 1 |
chopin ' s tudes 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 ( op . 25 , no . 10 ) , and playing repeated notes ( op . 10 , no . 7 ) . | what pieces of his did chopin use to teach his technique ? | tudes | 64 | 12 | 1 |
chopin ' s tudes 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 ( op . 25 , no . 10 ) , and playing repeated notes ( op . 10 , no . 7 ) . | what form are most of chopin ' s tudes in ? | straightforward ternary | 64 | 11 | 2 |
chopin ' s tudes 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 ( op . 25 , no . 10 ) , and playing repeated notes ( op . 10 , no . 7 ) . | chopin often taught his piano technique using what form of music he wrote ? | tudes | 64 | 14 | 1 |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.