derek-thomas/squad-v1.1-t5-question-generation huggingface dataset:
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.

Question: What year was the Chopiniana released? Question: What is the name of the ballet that included Chopin's work? Question: Which 1909 ballet used Chopin's music? Question: Who choreographed a ballet which included Chopin's work? Question: Who choreographed Chopiniana? Question: Who orchestrated Chopiniana? Question: Who orchestrated Chopiniana? Question: Chopiniana later went by a different name, what is that name? Question: Sergei Diaghilev obtained additional orchestrations for subsequent productions, using which title?
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.

Question: What was happening in April 1848 in Paris? Question: Where did Chopin head to during the Revolution of 1848? Question: Where did Chopin go in the spring of 1848? Question: What was Jane Stirling's national heritage? Question: Who provided the majority of funds for his concert tour in London? Question: What two people suggested the 1848 tour? Question: Who paid for most of the 1848 music tour of Chopin?
In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.

Question: Where did Chopin stay while in London? Question: What steet did Chopin stay on in London? Question: What company provided Chopin with a piano while in London? Question: What did Broadway provide for Chopin? Question: Where was Chopin's initial performance? Question: What two notable guests were present during his premiere performance at Stafford House? Question: What two dignitaries where at his first performance in London? Question: In addition to hearing him play, what else did people seek from Chopin in London? Question: What date did he perform with Viardot? Question: Who sang chopin arrangements on July 7 of the year Chopin was in London?
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, 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.

Question: Where did Jane Stirling invite Chopin? Question: Where was Chopin invited to in late summer? Question: What city did Chopin perform at on September 27? Question: What doctor was with Chopin when he wrote out his will? Question: What did Chopin write while staying with Doctor Adam Łyszczyński?
Chopin made his last public appearance on a concert platform at London's Guildhall 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.

Question: Where was Chopin's last public performance? Question: Where was Chopin's last public performance? Question: When did Chopin last appear in public? Question: Who were the beneficiaries of his last public concert? Question: What was the diagnosis of Chopin's health condition at this time?
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 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.

Question: When did Chopin return to Paris? Question: Who did Chopin play for while she sang? Question: Chopin accompanied which singer for friends? Question: In 1849 where did Chopin live? Question: Where did his friends found Chopin an apartment in 1849? Question: Who was anonymously paying for Chopin's apartment? Question: Who paid for Chopin's apartment in Chaillot? Question: When did Jenny Lind visit Chopin?
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 him, although Viardot remarked sardonically that "all the grand Parisian ladies considered it de rigueur to faint in his room."

Question: When did his sister come to stay with Chopin? Question: Which family member came to Paris in June 1849? Question: Who accompanied Chopin's sister to Paris? Question: Who gave Chopin a loan in September for an apartment? Question: In September 1849 where did Chopin take up residence? Question: What did Parisian ladies consider proper etiquette when in Chopin's room?
Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also 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 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.

Question: Why did Chopin request being cut open after his death? Question: Why did Chopin want his body opened when he died? Question: What did Chopin reply to the doctor when asked is he was suffering? Question: Who made Chopin's death mask? Question: What did Solange's husband make hours after Chopin's death along with his death mask?
Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency. However, the attribution of tuberculosis as principal cause of death has not been disproved. Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.

Question: What is listed as Chopin's official cause of death? Question: What was the cause of death on Chopin's death certificate? Question: What was the name of Chopin's doctor? Question: Who was Chopin's physician? Question: Other possiblities for Chopin's death include cirrhosis, alpha 1-antitrypsin deficiency, and what? Question: What has the Polish government not allowed to find true cause of death? Question: Who has denied testing Chopin's DNA to determine the actual cause of death?
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.

Question: Where was Chopin's funeral held? Question: Where was Chopin's funeral held? Question: How long was Chopin's funeral delayed? Question: How long was Chopin's funeral delayed? Question: How many people arrived for Chopin's funeral? Question: How many people arrived without an invitation?
Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The 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.

Question: What song was sung at Chopin's funeral? Question: What Mozart song was sung at Chopin's funeral? Question: Who was the organist at Chopin's funeral? Question: Who was the organist for Chopin's funeral? Question: Which cemetery was Chopin buried in? Question: Who led Chopin's funeral procession? Question: Who led the funeral procession? Question: What was played at Chopin's graveside? Question: What was played at his graveside?
Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.

Question: What is the name of the muse carved on Chopin's tombstone? Question: Who sculpted Chopin's tombstone? Question: Who designed Chopin's tombstone? Question: How much did Chopin's funeral cost? Question: How much did Chopin's funeral and monument cost? Question: Who paid for Chopin's funeral? Question: Who paid for Chopin's funeral? Question: Who took Chopin's heart to Poland? Question: Chopin's sister Ludwika took his heart back to Warsaw preserved in what? Question: Who ended up with the 200 letters from Sand to 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.

Question: How many of Chopin's works still exist? Question: How many Chopin pieces are known to have survived? Question: All of his pieces include what instrument? Question: Only a few of Chopin's pieces involve more than the piano, including piano concertos, songs and what?
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 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 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.

Question: Chopin looked to Beethoven, Mozart, Clementi and who for his own music education? Question: Whose piano method did Chopin teach his students? Question: Whose piano method did Chopin use with his students? Question: Who did Chopin say were the two most important composers in his own music influences?
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 by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).

Question: What new genre di John Field invent? Question: Who is credited with creating the nocturne? Question: Chopin was the first person to create what as singular concert pieces? Question: Chopin was first in writing what for concerts? Question: What musical concept did Chopin exploit? Question: What three other musicians were developing the new genre?
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.

Question: What did Chopin add to the modern dance of his era? Question: Chopin was credited for making what more internationally known? Question: Chopin's Polish dance music was developed for what type of hall? Question: What was Chopin responsible for making popular with Euorpeans? Question: How many polonaises were published while Chopin lived? Question: How many polonaises were published after Chopin died? Question: How many Chopin polonaises were published after his death? Question: What dance music of Chopin was written more for recitals than ballrooms? Question: What is different about Chopin's waltzes versus a ballroom waltz?
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 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.

Question: What is another title Op. 10, No. 12 has garnered? Question: What descriptive name was Op. 10, No. 12 given? Question: What descriptive name was Op. 64, No. 1 given? Question: What is the only piece Chopin gave an actual title to? Question: The Funeral March was written as part of what piece? Question: How many instrumental works did Chopin give a descriptive name to?
The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.

Question: What was the last number Chopin gave to an opus? Question: What is the last opus number that Chopin used? Question: Who was Chopin's musical executor? Question: Who grouped 23 unpublished pieces and published them as Opp. 66-73 in 1855? Question: How many unfinished pieces did Julian Fontana make into eight more opus numbers? Question: When was Op. 74 published? Question: Op. 74 is made up of how many Polish songs?
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 initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.

Question: Pieces published after what year stopped receiving opus numbers? Question: What have pieces published after 1857 been given rather than opus numbers? Question: What is the current musicologist reference for Chopin's pieces? Question: What is the shortened reference for the Kobylańska Catalogue? Question: The Kobylańska Catalogue was named for who? Question: Who compiled the Kobylańska Catalogue?
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.

Question: Maurice Schlesinger and Camille Pleyel were what to Chopin? Question: Where did Chopin's work start t oshow up? Question: Who released the first collection of Chopin's works? Question: What was the name under scholarly publications of Chopin's work form 1937 to 1966? Question: Who edited the Polish "National Edition" of Chopin's works? Question: Who edited the Polish National Edition?
Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.

Question: What is central to Chopin's process? Question: What is central to Chopin's creativeness? Question: Who wrote that "improvisation is designed for an audience"? Question: What did Rosen suggest was important about chopin's personality? Question: Rosen suggests that a central part of Chopin's uniqueness is how he handles what?
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 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 comes."

Question: What does J. Barrie Jones feel stands supreme of Chopin's concert pieces? Question: What piece does J. Barrie Jones pinpoint as a great example of Chopin's palette? Question: What form does Temperley feel that Chopin's ballades and scherzos are based on?
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.

Question: Which of Chopin's works shows more folk aspects? Question: What form are Chopin's mazurkas and waltzes in? Question: Chopin's mazurkas contain more of what than his other compositions? Question: What type of bass do Chopin's mazurkas exhibit? Question: What does Chopin's Op. 63 No. 3 have that is rare?
Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique.

Question: Chopin's ability to create an advanced polonasises surpassed even two of his teachers, Zywny and who? Question: What time are Chopin's polonaises written in? Question: Chopin's polonaise often have what kind of rhythm in their melodies? Question: Chopin's polonaises needed what kind of 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.

Question: How many nocturnes did Chopin compose? Question: Which type of Chopin's compositons were difficult for perfomers due to their middle sections? Question: Chopin's nocturnes were more structured than who? Question: What year did Chopin meet Field? Question: What is it about the middle of Chopin's nocturnes that increases their drama?
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 (Op. 25, No. 10), and playing repeated notes (Op. 10, No.  7).

Question: What pieces of his did Chopin use to teach his technique? Question: Chopin often taught his piano technique using what form of music he wrote? Question: What form are most of Chopin's études in?