id stringlengths 24 24 | title stringclasses 442
values | context stringlengths 8 722 | question stringlengths 1 25.7k | answers dict |
|---|---|---|---|---|
56d38cfe59d6e4140014673b | Frédéric_Chopin | 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? | {
"text": [
"Over 230"
],
"answer_start": [
0
]
} |
56d38cfe59d6e4140014673c | Frédéric_Chopin | 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? | {
"text": [
"chamber music."
],
"answer_start": [
210
]
} |
56cfed0f234ae51400d9c0db | Frédéric_Chopin | Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. | Whose piano method did Chopin teach his students? | {
"text": [
"Clementi"
],
"answer_start": [
69
]
} |
56d38d6559d6e4140014674f | Frédéric_Chopin | Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. | Whose piano method did Chopin use with his students? | {
"text": [
"Clementi"
],
"answer_start": [
69
]
} |
56d38d6559d6e41400146750 | Frédéric_Chopin | He cited Bach and Mozart as the two most important composers in shaping his musical outlook. | Who did Chopin say were the two most important composers in his own music influences? | {
"text": [
"Bach and Mozart"
],
"answer_start": [
9
]
} |
56d38d6559d6e41400146751 | Frédéric_Chopin | Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. | Chopin looked to Beethoven, Mozart, Clementi and who for his own music education? | {
"text": [
"Haydn"
],
"answer_start": [
51
]
} |
56cfed8a234ae51400d9c0e1 | Frédéric_Chopin | Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. | Who is credited with creating the nocturne? | {
"text": [
"John Field"
],
"answer_start": [
80
]
} |
56cfed8a234ae51400d9c0e2 | Frédéric_Chopin | He was the first to write ballades and scherzi as individual concert pieces. | Chopin was the first person to create what as singular concert pieces? | {
"text": [
"ballades and scherzi"
],
"answer_start": [
26
]
} |
56d38fa059d6e41400146771 | Frédéric_Chopin | Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. | What new genre di John Field invent? | {
"text": [
"nocturne"
],
"answer_start": [
39
]
} |
56d38fa059d6e41400146772 | Frédéric_Chopin | He was the first to write ballades and scherzi as individual concert pieces. | Chopin was first in writing what for concerts? | {
"text": [
"ballades and scherzi"
],
"answer_start": [
26
]
} |
56d38fa059d6e41400146773 | Frédéric_Chopin | He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). | What musical concept did Chopin exploit? | {
"text": [
"concert étude"
],
"answer_start": [
56
]
} |
56d38fa059d6e41400146774 | Frédéric_Chopin | He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837). | What three other musicians were developing the new genre? | {
"text": [
"Liszt, Clementi and Moscheles"
],
"answer_start": [
121
]
} |
56cfee5d234ae51400d9c0f7 | Frédéric_Chopin | Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (... | How many polonaises were published while Chopin lived? | {
"text": [
"seven"
],
"answer_start": [
276
]
} |
56cfee5d234ae51400d9c0f8 | Frédéric_Chopin | Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (... | How many polonaises were published after Chopin died? | {
"text": [
"nine"
],
"answer_start": [
328
]
} |
56cfee5d234ae51400d9c0f9 | Frédéric_Chopin | Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (... | Chopin was credited for making what more internationally known? | {
"text": [
"mazurkas"
],
"answer_start": [
9
]
} |
56cfee5d234ae51400d9c0fa | Frédéric_Chopin | 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. | What is different about Chopin's waltzes versus a ballroom waltz? | {
"text": [
"faster tempos"
],
"answer_start": [
119
]
} |
56d390b559d6e41400146789 | Frédéric_Chopin | Chopin also endowed popular dance forms with a greater range of melody and expression. | What did Chopin add to the modern dance of his era? | {
"text": [
"greater range of melody and expression."
],
"answer_start": [
47
]
} |
56d390b559d6e4140014678a | Frédéric_Chopin | Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (... | Chopin's Polish dance music was developed for what type of hall? | {
"text": [
"concert hall"
],
"answer_start": [
156
]
} |
56d390b559d6e4140014678b | Frédéric_Chopin | Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (... | What was Chopin responsible for making popular with Euorpeans? | {
"text": [
"the mazurka"
],
"answer_start": [
220
]
} |
56d390b559d6e4140014678c | Frédéric_Chopin | Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (... | How many Chopin polonaises were published after his death? | {
"text": [
"nine"
],
"answer_start": [
328
]
} |
56d390b559d6e4140014678d | Frédéric_Chopin | 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. | What dance music of Chopin was written more for recitals than ballrooms? | {
"text": [
"waltzes"
],
"answer_start": [
4
]
} |
56cfef3c234ae51400d9c10d | Frédéric_Chopin | 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). | What is another title Op. 10, No. 12 has garnered? | {
"text": [
"the Revolutionary Étude"
],
"answer_start": [
77
]
} |
56cfef3c234ae51400d9c10e | Frédéric_Chopin | 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 known were invented by others. | What is the only piece Chopin gave an actual title to? | {
"text": [
"Funeral March"
],
"answer_start": [
35
]
} |
56cfef3c234ae51400d9c10f | Frédéric_Chopin | 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 Funeral March was written as part of what piece? | {
"text": [
"Sonata No. 2"
],
"answer_start": [
45
]
} |
56d3913859d6e41400146793 | Frédéric_Chopin | 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. | How many instrumental works did Chopin give a descriptive name to? | {
"text": [
"one"
],
"answer_start": [
72
]
} |
56d3913859d6e41400146795 | Frédéric_Chopin | 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). | What descriptive name was Op. 10, No. 12 given? | {
"text": [
"Revolutionary Étude"
],
"answer_start": [
81
]
} |
56d3913859d6e41400146796 | Frédéric_Chopin | 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). | What descriptive name was Op. 64, No. 1 given? | {
"text": [
"Minute Waltz"
],
"answer_start": [
127
]
} |
56cff00f234ae51400d9c113 | Frédéric_Chopin | The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. | What was the last number Chopin gave to an opus? | {
"text": [
"65"
],
"answer_start": [
50
]
} |
56cff00f234ae51400d9c115 | Frédéric_Chopin | 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. | Who was Chopin's musical executor? | {
"text": [
"Julian Fontana"
],
"answer_start": [
83
]
} |
56cff00f234ae51400d9c116 | Frédéric_Chopin | 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. | How many unfinished pieces did Julian Fontana make into eight more opus numbers? | {
"text": [
"23"
],
"answer_start": [
107
]
} |
56cff00f234ae51400d9c117 | Frédéric_Chopin | 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. | Op. 74 is made up of how many Polish songs? | {
"text": [
"17"
],
"answer_start": [
9
]
} |
56d3929359d6e4140014679d | Frédéric_Chopin | The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. | What is the last opus number that Chopin used? | {
"text": [
"65"
],
"answer_start": [
50
]
} |
56d3929359d6e4140014679f | Frédéric_Chopin | 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. | Who grouped 23 unpublished pieces and published them as Opp. 66-73 in 1855? | {
"text": [
"Julian Fontana"
],
"answer_start": [
83
]
} |
56d3929359d6e414001467a1 | Frédéric_Chopin | 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. | When was Op. 74 published? | {
"text": [
"1857"
],
"answer_start": [
3
]
} |
56cff0c3234ae51400d9c123 | Frédéric_Chopin | The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. | The Kobylańska Catalogue was named for who? | {
"text": [
"Krystyna Kobylańska"
],
"answer_start": [
184
]
} |
56cff0c3234ae51400d9c124 | Frédéric_Chopin | Works published since 1857 have received alternative catalogue designations instead of opus numbers. | Pieces published after what year stopped receiving opus numbers? | {
"text": [
"1857"
],
"answer_start": [
22
]
} |
56d3946659d6e414001467af | Frédéric_Chopin | Works published since 1857 have received alternative catalogue designations instead of opus numbers. | What have pieces published after 1857 been given rather than opus numbers? | {
"text": [
"alternative catalogue designations"
],
"answer_start": [
41
]
} |
56d3946659d6e414001467b0 | Frédéric_Chopin | The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. | What is the current musicologist reference for Chopin's pieces? | {
"text": [
"the Kobylańska Catalogue"
],
"answer_start": [
67
]
} |
56d3946659d6e414001467b1 | Frédéric_Chopin | The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. | What is the shortened reference for the Kobylańska Catalogue? | {
"text": [
"KK"
],
"answer_start": [
130
]
} |
56d3946659d6e414001467b2 | Frédéric_Chopin | The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska. | Who compiled the Kobylańska Catalogue? | {
"text": [
"Krystyna Kobylańska."
],
"answer_start": [
184
]
} |
56cff179234ae51400d9c131 | Frédéric_Chopin | The first collected edition was by Breitkopf & Härtel (1878–1902). | Who released the first collection of Chopin's works? | {
"text": [
"Breitkopf & Härtel"
],
"answer_start": [
35
]
} |
56cff179234ae51400d9c133 | Frédéric_Chopin | 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. | Who edited the Polish "National Edition" of Chopin's works? | {
"text": [
"Jan Ekier"
],
"answer_start": [
184
]
} |
56d3971459d6e414001467cd | Frédéric_Chopin | Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. | Maurice Schlesinger and Camille Pleyel were what to Chopin? | {
"text": [
"original publishers"
],
"answer_start": [
9
]
} |
56d3971459d6e414001467ce | Frédéric_Chopin | His works soon began to appear in popular 19th-century piano anthologies. | Where did Chopin's work start t oshow up? | {
"text": [
"popular 19th-century piano anthologies."
],
"answer_start": [
34
]
} |
56d3971459d6e414001467cf | Frédéric_Chopin | 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. | What was the name under scholarly publications of Chopin's work form 1937 to 1966? | {
"text": [
"Paderewski"
],
"answer_start": [
84
]
} |
56d3971459d6e414001467d0 | Frédéric_Chopin | 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. | Who edited the Polish National Edition? | {
"text": [
"Jan Ekier"
],
"answer_start": [
184
]
} |
56cff256234ae51400d9c145 | Frédéric_Chopin | Improvisation stands at the centre of Chopin's creative processes. | What is central to Chopin's process? | {
"text": [
"Improvisation"
],
"answer_start": [
0
]
} |
56cff256234ae51400d9c146 | Frédéric_Chopin | 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 impor... | Rosen suggests that a central part of Chopin's uniqueness is how he handles what? | {
"text": [
"the four-bar phrase"
],
"answer_start": [
386
]
} |
56d398a859d6e414001467e5 | Frédéric_Chopin | Improvisation stands at the centre of Chopin's creative processes. | What is central to Chopin's creativeness? | {
"text": [
"Improvisation"
],
"answer_start": [
0
]
} |
56d398a859d6e414001467e6 | Frédéric_Chopin | However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperle... | Who wrote that "improvisation is designed for an audience"? | {
"text": [
"Nicholas Temperley"
],
"answer_start": [
49
]
} |
56d398a859d6e414001467e7 | Frédéric_Chopin | 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 impor... | What did Rosen suggest was important about chopin's personality? | {
"text": [
"his flexible handling of the four-bar phrase as a structural unit."
],
"answer_start": [
361
]
} |
56cff351234ae51400d9c14d | Frédéric_Chopin | 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. | Chopin's mazurkas contain more of what than his other compositions? | {
"text": [
"folk features"
],
"answer_start": [
29
]
} |
56d39a6a59d6e414001467f3 | Frédéric_Chopin | Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. | What form are Chopin's mazurkas and waltzes in? | {
"text": [
"straightforward ternary or episodic form, sometimes with a coda."
],
"answer_start": [
41
]
} |
56d39a6a59d6e414001467f4 | Frédéric_Chopin | Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. | Which of Chopin's works shows more folk aspects? | {
"text": [
"mazurkas"
],
"answer_start": [
9
]
} |
56d39a6a59d6e414001467f5 | Frédéric_Chopin | 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. | What type of bass do Chopin's mazurkas exhibit? | {
"text": [
"drone bass"
],
"answer_start": [
135
]
} |
56d39a6a59d6e414001467f6 | Frédéric_Chopin | 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. | What does Chopin's Op. 63 No. 3 have that is rare? | {
"text": [
"a canon at one beat's distance"
],
"answer_start": [
89
]
} |
56cff390234ae51400d9c151 | Frédéric_Chopin | As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. | What time are Chopin's polonaises written in? | {
"text": [
"triple time"
],
"answer_start": [
57
]
} |
56d39abf59d6e414001467fd | Frédéric_Chopin | Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). | Chopin's ability to create an advanced polonasises surpassed even two of his teachers, Zywny and who? | {
"text": [
"Elsner"
],
"answer_start": [
127
]
} |
56d39abf59d6e414001467fe | Frédéric_Chopin | As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. | Chopin's polonaise often have what kind of rhythm in their melodies? | {
"text": [
"martial"
],
"answer_start": [
93
]
} |
56d39abf59d6e414001467ff | Frédéric_Chopin | Unlike most of their precursors, they also require a formidable playing technique. | Chopin's polonaises needed what kind of playing technique? | {
"text": [
"formidable"
],
"answer_start": [
53
]
} |
56cff3f4234ae51400d9c153 | Frédéric_Chopin | The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). | How many nocturnes did Chopin compose? | {
"text": [
"21"
],
"answer_start": [
4
]
} |
56cff3f4234ae51400d9c154 | Frédéric_Chopin | 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? | {
"text": [
"agitated expression"
],
"answer_start": [
60
]
} |
56d39bdf59d6e41400146807 | Frédéric_Chopin | The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). | Chopin's nocturnes were more structured than who? | {
"text": [
"Field"
],
"answer_start": [
84
]
} |
56d39bdf59d6e41400146808 | Frédéric_Chopin | The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). | What year did Chopin meet Field? | {
"text": [
"1833"
],
"answer_start": [
110
]
} |
56d39bdf59d6e41400146809 | Frédéric_Chopin | The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). | Which type of Chopin's compositons were difficult for perfomers due to their middle sections? | {
"text": [
"nocturnes"
],
"answer_start": [
7
]
} |
56cff427234ae51400d9c157 | Frédéric_Chopin | Chopin's études are largely in straightforward ternary form. | What pieces of his did Chopin use to teach his technique? | {
"text": [
"études"
],
"answer_start": [
9
]
} |
56d39c5359d6e4140014680d | Frédéric_Chopin | Chopin's études are largely in straightforward ternary form. | What form are most of Chopin's études in? | {
"text": [
"straightforward ternary"
],
"answer_start": [
31
]
} |
56d39c5359d6e4140014680e | Frédéric_Chopin | Chopin's études are largely in straightforward ternary form. | Chopin often taught his piano technique using what form of music he wrote? | {
"text": [
"études"
],
"answer_start": [
9
]
} |
56cff49a234ae51400d9c161 | Frédéric_Chopin | 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. | What piece of Bach's did Chopin take inspiration for his preludes? | {
"text": [
"The Well-Tempered Clavier"
],
"answer_start": [
24
]
} |
56cff49a234ae51400d9c162 | Frédéric_Chopin | The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is... | Who suggested that Chopin's preludes were not intended to be played as a group? | {
"text": [
"Kenneth Hamilton"
],
"answer_start": [
203
]
} |
56d39cea59d6e41400146811 | Frédéric_Chopin | 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". | What was described as "the beginning of studies" by Schumann? | {
"text": [
"The preludes"
],
"answer_start": [
0
]
} |
56d39cea59d6e41400146812 | Frédéric_Chopin | 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. | What inspired Chopin for his preludes? | {
"text": [
"J.S. Bach's The Well-Tempered Clavier"
],
"answer_start": [
12
]
} |
56d39cea59d6e41400146813 | Frédéric_Chopin | The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is... | Kenneth Hamilton suggests that the preludes may not have been meant as a group but rather as what? | {
"text": [
"generic preludes to others of his pieces"
],
"answer_start": [
121
]
} |
56d39cea59d6e41400146814 | Frédéric_Chopin | The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is... | Who did a recording where Étude Op. 10 No. 5. follows relude Op. 28 No. 7? | {
"text": [
"Ferruccio Busoni"
],
"answer_start": [
258
]
} |
56cff536234ae51400d9c165 | Frédéric_Chopin | The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. | How many movements are No. 2, Op. 35 and No. 3, Op 58 in? | {
"text": [
"four"
],
"answer_start": [
104
]
} |
56cff536234ae51400d9c166 | Frédéric_Chopin | The Op. 58 sonata is closer to the German tradition, including many passages of complex counterpoint, "worthy of Brahms" according to the music historians Kornel Michałowski and Jim Samson. | What two people claimed that Op 58 was "worthy of Brahms"? | {
"text": [
"Kornel Michałowski and Jim Samson"
],
"answer_start": [
155
]
} |
56d39ed559d6e41400146825 | Frédéric_Chopin | The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. | How many movements are in No. 2, Op. 35 and No. 3, Op 58? | {
"text": [
"four"
],
"answer_start": [
104
]
} |
56d39ed559d6e41400146826 | Frédéric_Chopin | The last movement, a brief (75-bar) perpetuum mobile in which the hands play in unmodified octave unison throughout, was found shocking and unmusical by contemporaries, including Schumann. | Which movement was found lacking in musicality by Schumann? | {
"text": [
"The last movement"
],
"answer_start": [
0
]
} |
56d39ed559d6e41400146827 | Frédéric_Chopin | The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. | According to music historians, which sonata is similar to German tradition and worthy of Brahms? | {
"text": [
"Op. 58"
],
"answer_start": [
72
]
} |
56cff5a8234ae51400d9c173 | Frédéric_Chopin | Chord progressions sometimes anticipate the shifting tonality of later composers such as Claude Debussy, as does Chopin's use of modal harmony. | Chopin's chord progressions are similar in style to what other composer? | {
"text": [
"Claude Debussy"
],
"answer_start": [
89
]
} |
56d39fa059d6e41400146831 | Frédéric_Chopin | Chopin's harmonic innovations may have arisen partly from his keyboard improvisation technique. | What likely arose due to Chopin's technique with keyboards? | {
"text": [
"harmonic innovations"
],
"answer_start": [
9
]
} |
56d39fa059d6e41400146832 | Frédéric_Chopin | Temperley says that in his works "novel harmonic effects frequently result from the combination of ordinary appoggiaturas or passing notes with melodic figures of accompaniment", and cadences are delayed by the use of chords outside the home key (neapolitan sixths and diminished sevenths), or by sudden shifts to remote... | Who wrote about Chopin's "novel harmonic effects"? | {
"text": [
"Temperley"
],
"answer_start": [
0
]
} |
56cff635234ae51400d9c184 | Frédéric_Chopin | His style was based extensively on his use of very independent finger technique. | What was Chopin's style based upon? | {
"text": [
"independent finger technique"
],
"answer_start": [
51
]
} |
56d3a0d159d6e41400146835 | Frédéric_Chopin | In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. | Who wrote about a Chopin 1841 recital? | {
"text": [
"Léon Escudier"
],
"answer_start": [
9
]
} |
56cff6f3234ae51400d9c191 | Frédéric_Chopin | Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). | According to J. Barrie Jones who was the only true successor to Chopin? | {
"text": [
"Karol Szymanowski"
],
"answer_start": [
183
]
} |
56cff6f3234ae51400d9c192 | Frédéric_Chopin | Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as ... | Many people were considered influenced by Chopin's what? | {
"text": [
"national modes and idioms"
],
"answer_start": [
178
]
} |
56cff6f3234ae51400d9c193 | Frédéric_Chopin | Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as ... | Who was Alexander Scriabin's teacher? | {
"text": [
"Nikolai Zverev"
],
"answer_start": [
370
]
} |
56d3a9282ccc5a1400d82dc8 | Frédéric_Chopin | Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). | Who was Chopin's worthy successor according to Jones? | {
"text": [
"Karol Szymanowski"
],
"answer_start": [
183
]
} |
56d3a9282ccc5a1400d82dc9 | Frédéric_Chopin | Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as ... | Who was devoted to the music of Chopin? | {
"text": [
"Alexander Scriabin"
],
"answer_start": [
205
]
} |
56d3a9282ccc5a1400d82dca | Frédéric_Chopin | Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as ... | Who was Alexander Scriabin's teacher? | {
"text": [
"Nikolai Zverev"
],
"answer_start": [
370
]
} |
56cff817234ae51400d9c1a3 | Frédéric_Chopin | Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. | Who wrote that the current large concert style conflicts with Chopin's preference of intimate performances? | {
"text": [
"Jonathan Bellman"
],
"answer_start": [
0
]
} |
56cff817234ae51400d9c1a4 | Frédéric_Chopin | The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a hig... | What did Chopin tend to avoid? | {
"text": [
"rigid procedures"
],
"answer_start": [
228
]
} |
56cff817234ae51400d9c1a5 | Frédéric_Chopin | The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a hig... | What has been falsely credited to Chopin? | {
"text": [
"\"always crescendo to a high note\""
],
"answer_start": [
294
]
} |
56d3a1e959d6e41400146841 | Frédéric_Chopin | The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a hig... | What did Chopin tell a student is given up in concerts? | {
"text": [
"hearing in them all the most beautiful things of art"
],
"answer_start": [
106
]
} |
56d3a1e959d6e41400146842 | Frédéric_Chopin | Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". | Who wrote about Chopin's "chromatic embroidery"? | {
"text": [
"Berlioz"
],
"answer_start": [
0
]
} |
56d3a1e959d6e41400146843 | Frédéric_Chopin | Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers." | Who wrote that Chopin's music, when played by him, became a "colorful wreath of flowers"? | {
"text": [
"Hiller"
],
"answer_start": [
0
]
} |
56cff885234ae51400d9c1b3 | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". | Chopin's compositions are often played with what? | {
"text": [
"rubato"
],
"answer_start": [
41
]
} |
56cff885234ae51400d9c1b4 | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". | What does rubato mean? | {
"text": [
"the practice in performance of disregarding strict time"
],
"answer_start": [
50
]
} |
56d3a2cd59d6e41400146849 | Frédéric_Chopin | Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". | In Chopin's music where strict timing is disregarded, what is it called? | {
"text": [
"rubato"
],
"answer_start": [
41
]
} |
56d3a2cd59d6e4140014684a | Frédéric_Chopin | Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this ru... | What type of Chopin's music had the most disregard for strict timing according to Charles Rosen? | {
"text": [
"mazurkas"
],
"answer_start": [
108
]
} |
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