Answer: Berlioz's Grande symphonie funèbre et triomphale

Context: At the funeral of the tenor Adolphe Nourrit in Paris in 1839, Chopin made a rare appearance at the organ, playing a transcription of Franz Schubert's lied Die Gestirne. On 26 July 1840 Chopin and Sand were present at the dress rehearsal of Berlioz's Grande symphonie funèbre et triomphale, composed to commemorate the tenth anniversary of the July Revolution. Chopin was reportedly unimpressed with the composition.

Question: What event were Chopin and Sand at on 26 July 1840?


Answer: tenth

Question: What anniversary was the July Revolution that Sand and Chopin were present at a dress rehearsal for?


Answer: Adolphe Nourrit

Question: At whose funeral did Chopin play in 1839?


Answer: organ

Question: What instrument did Chopin play at Adolphe Nourrit's funeral?


Answer: Franz Schubert's lied Die Gestirne

Question: What piece did Chopin play at Adolphe Nourrit's funeral?


Answer: Adolphe Nourrit

Question: Chopin attended the funeral of who in 1839?


Answer: Franz Schubert's lied Die Gestirne.

Question: What did Chopin play at the funeral?


Answer: Berlioz's Grande symphonie funèbre et triomphale

Question: What was the dress rehearsal for?


Answer: the July Revolution.

Question: It was in commemoration of the tenth anniversary of what?


Answer: Polonaise in A-flat major, Op. 53

Context: During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

Question: What is the example given of a work produced by Frédéric during calm summers at Nohant?


Answer: Pauline Viardot

Question: Which of the two people that visited Chopin were tutored by him on piano?


Answer: 7 June 1842

Question: On what date did Delacroix write a letter based on his visit at Nohant?


Answer: piano technique and composition

Question: What did Chopin help Pauline Viardot with?


Answer: Delacroix and the mezzo-soprano Pauline Viardot

Question: Who were two visitors to Chopin while in Nohant?


Answer: piano technique and composition.

Question: What two things did Chopin advise Viardot on?


Answer: Delacroix

Question: Who wrote a letter on June 7, 1842 about a stay in Nohant?


Answer: 1842

Context: From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.

Question: In which year did Chopin begin experiencing a serious decline in health?


Answer: Grzymała

Question: To whom did Chopin write a letter on 21 February 1842 about his agonizing pain?


Answer: Beethoven Seventh Symphony arrangement at Erard's

Question: What performance was Chopin forced to decline due to his increasing ill health?


Answer: piano

Question: What instrument did Chopin play for Charles Hallé when the latter visited him?


Answer: temporal lobe epilepsy

Question: What has current day research suggested that Chopin was suffering from alongside his other illnesses?


Answer: 1842

Question: Starting in what year did Chopin start showing evidence of very bad health?


Answer: Beethoven Seventh Symphony arrangement

Question: What second performance did Chopin have to decline to play?


Answer: temporal lobe epilepsy

Question: What specific illness does modern evidence point to Chopin having?


Answer: From 1842 onwards

Question: When did Chopin show signs of serious illness?


Answer: mouth and tonsils

Question: Chopin wrote in 1842 that he had to lie in bed all day because what ached so much?


Answer: Alkan

Question: Chopin had to decline who's invitation in 1843 to particpate in a performance at Erard's?


Answer: Charles Hallé

Question: Who visited Chopin in 1844 and wrote about his inability to move?


Answer: temporal lobe epilepsy.

Question: Modern medicine indicates Chopin may have suffered from what condition?


Answer: Auguste Clésinger

Context: Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.

Question: What was the name of Sand's daughter's fiance that contributed to deteriorating the relationship between Sand and Chopin?


Answer: radical political pursuits

Question: What was the interest Sand had that Chopin showed apathy towards?


Answer: third child

Question: What did Sand begin referring to Chopin as as his illness got worse?


Answer: Lucrezia Floriani

Question: What was the name of Sand's novel she published in reference to her situation with Chopin?


Answer: 1847

Question: In what year did Chopin and Sand ultimately bring their relationship to a close?


Answer: 1846

Question: When did Chopin's relationship with Sand start to deteriorate?


Answer: Auguste Clésinger

Question: Whom did Sand's daughter Solange become engaged to?


Answer: Lucrezia Floriani

Question: What novel did Sand write in 1847?


Answer: Auguste Clésinger.

Question: Who was the fortune hunter engaged to Sand's daughter?


Answer: nurse

Question: What role did Sand take on as her relationship with Chopin progressed?


Answer: Lucrezia Floriani

Question: What was the name of Sand's book where the main characters can be interpreted as Sand and Chopin?


Answer: 1847

Question: When did Chopin end his relationship with Sand?


Answer: Op. 58 sonata

Context: Chopin's output as a composer throughout this period declined in quantity year by year. Whereas in 1841 he had written a dozen works, only six were written in 1842 and six shorter pieces in 1843. In 1844 he wrote only the Op. 58 sonata. 1845 saw the completion of three mazurkas (Op. 59). Although these works were more refined than many of his earlier compositions, Zamoyski opines that "his powers of concentration were failing and his inspiration was beset by anguish, both emotional and intellectual."

Question: What was the name of the single piece of work he wrote in 1844?


Answer: more refined than many of his earlier compositions

Question: What can be said of these works compared to his work in other years even though the quantity was less?


Answer: a dozen

Question: How many pieces did Chopin write in 1841?


Answer: six

Question: How many pieces did Chopin compose in 1842?


Answer: Op. 58 sonata

Question: What piece did Chopin compose in 1844?


Answer: six

Question: How many works did Chopin write in 1842?


Answer: six shorter pieces

Question: How many works did Chopin write in 1843?


Answer: three mazurkas

Question: How many works did Chopin write in 1845?


Answer: February 1848

Context: Chopin's public popularity as a virtuoso began to wane, as did the number of his pupils, and this, together with the political strife and instability of the time, caused him to struggle financially. In February 1848, with the cellist Auguste Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.

Question: In what month and year did Chopin give his final performance?


Answer: Auguste Franchomme

Question: With whom did Chopin perform his final concert?


Answer: February 1848

Question: When did Chopin last perform?


Answer: Auguste Franchomme

Question: Who did Chopin last perform with?


Answer: struggle financially.

Question: Plitical strife, popularity decline, instability of era and fewer students caused Chopin to what?


Answer: Auguste Franchomme

Question: Who did Chopin have at his last Parisian concert in 1848?


Answer: Cello

Question: What instrument did Auguste Franchomme play?


Answer: BBC

Context: Chopin's life was covered in a BBC TV documentary Chopin – The Women Behind The Music (2010), and in a 2010 documentary realised by Angelo Bozzolini and Roberto Prosseda for Italian television.

Question: What television station made a documentary on Chopin?


Answer: Angelo Bozzolini and Roberto Prosseda

Question: What two people created a documentary on Chopin for Italian tv?


Answer: The Women Behind The Music

Question: What was the title of the documentary the BBC released?


Answer: BBC

Question: What television station released a documentary on Chopin?


Answer: Chopin – The Women Behind The Music

Question: What was the name of the documentary released by the BBC?


Answer: Angelo Bozzolini and Roberto Prosseda

Question: What are the names of the two people that created a documentary for Italian tele vision?


Answer: Angelo Bozzolini and Roberto Prosseda

Question: Who did a work for Italian television about Chopin's life?


Answer: A Song to Remember

Context: Chopin's life and his relations with George Sand have been fictionalized in numerous films. The 1945 biographical film A Song to Remember earned Cornel Wilde an Academy Award nomination as Best Actor for his portrayal of the composer. Other film treatments have included: La valse de l'adieu (France, 1928) by Henry Roussel, with Pierre Blanchar as Chopin; Impromptu (1991), starring Hugh Grant as Chopin; La note bleue (1991); and Chopin: Desire for Love (2002).

Question: What was the name of the 1945 movie released about Chopin?


Answer: Cornel Wilde

Question: What is the name of the actor who received and Oscar nomination for his role as Chopin?


Answer: 1928

Question: What year was La valse de l'adieu released?


Answer: Hugh Grant

Question: Who starred as Chopin in Impromptu?


Answer: George Sand

Question: Chopins relations with whom have been fictionalized in movies?


Answer: A Song to Remember

Question: What 1945 film was a fictionalized accounting of the relationship between Chopin and Sand?


Answer: Cornel Wilde

Question: Who portrayed Chopin in A Song to Remember?


Answer: Pierre Blanchar

Question: Who portrayed Chopin in the 1928 film, La valse de l'adieu?


Answer: Hugh Grant

Question: Who portrayed Chopin in the 1991 film, Impromptu?


Answer: 1901

Context: Possibly the first venture into fictional treatments of Chopin's life was a fanciful operatic version of some of its events. Chopin was written by Giacomo Orefice and produced in Milan in 1901. All the music is derived from that of Chopin.

Question: When was the first fictionalized account of Chopin's life?


Answer: Milan

Question: Where was the first fictionalized account of Chopin's life created?


Answer: Giacomo Orefice

Question: Who is responsible for the first fictionalized account of Chopin's life?


Answer: Chopin

Question: What is thought to be the first fictionalized work about Chopin?


Answer: opera

Question: What style is the fictionalized "Chopin" in?


Answer: Giacomo Orefice

Question: Who wrote the fictionalized "Chopin?"


Answer: 1901.

Question: When was the fictionalized "Chopin" produced?


Answer: Milan

Question: Where was the fictionalized "Chopin" produced?


Answer: Leon Ulrich

Context: Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also featured in works of Gottfried Benn and Boris Pasternak. There are numerous biographies of Chopin in English (see bibliography for some of these).

Question: An 1830 sonnet was written about Chopin by what man?


Answer: Marcel Proust and André Gide

Question: Aside from George Sands what two French authors have written about Chopin?


Answer: sonnet

Question: Leon Ulrich wrote about Chopin in what format?


Answer: sonnet on Chopin by Leon Ulrich

Question: What is the earliest sighting of Chopin in Polish Literature?


Answer: 1830

Question: When did Ulrich do his sonnet on Chopin?


Answer: English

Question: In addition to Polish and French, what other language has numerous biogrpahies of Chopin?


Answer: every five years.

Context: Numerous recordings of Chopin's works are available. On the occasion of the composer's bicentenary, the critics of The New York Times recommended performances by the following contemporary pianists (among many others): Martha Argerich, Vladimir Ashkenazy, Emanuel Ax, Evgeny Kissin, Murray Perahia, Maurizio Pollini and Krystian Zimerman. The Warsaw Chopin Society organizes the Grand prix du disque de F. Chopin for notable Chopin recordings, held every five years.

Question: The Warsaw Chopin Society holds the Grand prix du disque de F. Chopin how often?


Answer: Grand prix du disque de F. Chopin

Question: What is the name of the event that The Warsaw Chopin Society holds?


Answer: The New York Times

Question: On Chopin's 200th anniversary critics of what publication made recommendations on recordings of Chopin's work?


Answer: The Warsaw Chopin Society

Question: Who organizes the Grand prix du disque de F. Chopin for notable Chopin recordings?


Answer: every five years.

Question: How often is the Grand prix du disque de F. Chopin for notable Chopin recordings held?


Answer: The New York Times

Question: Upon Chopin's bicentenary, who recommended a list of who should perform Chopin?


Answer: 1895

Context: The British Library notes that "Chopin's works have been recorded by all the great pianists of the recording era." The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. 62 No. 2. The British Library site makes available a number of historic recordings, including some by Alfred Cortot, Ignaz Friedman, Vladimir Horowitz, Benno Moiseiwitsch, Paderewski, Arthur Rubinstein, Xaver Scharwenka and many others. A select discography of recordings of Chopin works by pianists representing the various pedagogic traditions stemming from Chopin is given by Methuen-Campbell in his work tracing the lineage and character of those traditions.

Question: What year was the earliest Chopin recording created?


Answer: Nocturne in E major Op. 62 No. 2

Question: What is the title of the earliest known recording of Chopin's work?


Answer: Paul Pabst

Question: Who played the earlier known recording of Chopin's work?


Answer: The British Library

Question: What has stated that every pianist in the recording era has used Chopin's music?


Answer: 1895

Question: When did Pabst record his Chopin performance?


Answer: Methuen-Campbell

Question: Who has given a discography of pianists' representation of Chopin's pedagogic style?


Answer: International Chopin Piano Competition

Context: Chopin's music remains very popular and is regularly performed, recorded and broadcast worldwide. The world's oldest monographic music competition, the International Chopin Piano Competition, founded in 1927, is held every five years in Warsaw. The Fryderyk Chopin Institute of Poland lists on its website over eighty societies world-wide devoted to the composer and his music. The Institute site also lists nearly 1,500 performances of Chopin works on YouTube as of January 2014.

Question: What is the name of the oldest music essay competition?


Answer: 1927

Question: What year was the International Chopin Piano Competition founded?


Answer: Warsaw

Question: Where is the International Chopin Piano Competition held?


Answer: every five years

Question: How often is the International Chopin Piano Competition held?


Answer: 1,500

Question: The Fryderyk Chopin Institute of Poland includes approximately how many recordings of Chopin's work from Youtube?


Answer: the International Chopin Piano Competition

Question: What is the world's oldest monographic music competition?


Answer: 1927

Question: When was the International Chopin Piano Competition established?


Answer: The Fryderyk Chopin Institute of Poland

Question: There are over 80 societies throughout the world that have been established because of Chopin and his music according to who?


Answer: nearly 1,500

Question: How many known works of Chopin's music were on YouTube up to the beginning of 2014?


Answer: Chopiniana

Context: 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 is the name of the ballet that included Chopin's work?


Answer: Michel Fokine

Question: Who choreographed a ballet which included Chopin's work?


Answer: Les Sylphides

Question: Chopiniana later went by a different name, what is that name?


Answer: Alexander Glazunov

Question: Who orchestrated Chopiniana?


Answer: 1909

Question: What year was the Chopiniana released?


Answer: Chopiniana

Question: Which 1909 ballet used Chopin's music?


Answer: Michel Fokine

Question: Who choreographed Chopiniana?


Answer: Alexander Glazunov.

Question: Who orchestrated Chopiniana?


Answer: Les Sylphides.

Question: Sergei Diaghilev obtained additional orchestrations for subsequent productions, using which title?


Answer: London

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


Answer: Jane Stirling

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


Answer: London

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


Answer: Jane Stirling and her elder sister

Question: What two people suggested the 1848 tour?


Answer: Jane Stirling

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


Answer: Revolution

Question: What was happening in April 1848 in Paris?


Answer: Scottish

Question: What was Jane Stirling's national heritage?


Answer: Dover Street

Context: 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?


Answer: Broadwood

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


Answer: Stafford House

Question: Where was Chopin's initial performance?


Answer: Queen Victoria and Prince Albert

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


Answer: 7 July

Question: What date did he perform with Viardot?


Answer: Dover Street

Question: What steet did Chopin stay on in London?


Answer: a grand piano.

Question: What did Broadway provide for Chopin?


Answer: Queen Victoria and Prince Albert.

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


Answer: piano lessons

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


Answer: Viardot

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


Answer: Scotland

Context: 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?


Answer: Adam Łyszczyński

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


Answer: Scotland

Question: Where was Chopin invited to in late summer?


Answer: Glasgow

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


Answer: will

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


Answer: 16 November 1848

Context: 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: When did Chopin last appear in public?


Answer: Guildhall

Question: Where was Chopin's last public performance?


Answer: Polish refugees.

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


Answer: terminal

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


Answer: London's Guildhall

Question: Where was Chopin's last public performance?


Answer: Delfina Potocka

Context: 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: Who did Chopin play for while she sang?


Answer: Chaillot

Question: In 1849 where did Chopin live?


Answer: Princess Obreskoff

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


Answer: November

Question: When did Chopin return to Paris?


Answer: Delfina Potocka

Question: Chopin accompanied which singer for friends?


Answer: Chaillot

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


Answer: Princess Obreskoff.

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


Answer: June 1849

Question: When did Jenny Lind visit Chopin?


Answer: June 1849

Context: 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?


Answer: Place Vendôme 12

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


Answer: his sister

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


Answer: her husband and daughter

Question: Who accompanied Chopin's sister to Paris?


Answer: Jane Stirling

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


Answer: to faint

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


Answer: fear of being buried alive

Context: 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?


Answer: "No longer"

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


Answer: Clésinger

Question: Who made Chopin's death mask?


Answer: fear of being buried alive

Question: Why did Chopin want his body opened when he died?


Answer: a cast of his left hand.

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


Answer: tuberculosis

Context: 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?


Answer: Jean Cruveilhier

Question: What was the name of Chopin's doctor?


Answer: DNA testing

Question: What has the Polish government not allowed to find true cause of death?


Answer: tuberculosis

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


Answer: Jean Cruveilhier

Question: Who was Chopin's physician?


Answer: cystic fibrosis

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


Answer: the Polish government.

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


Answer: Church of the Madeleine

Context: 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?


Answer: two weeks

Question: How long was Chopin's funeral delayed?


Answer: Over 3,000

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


Answer: the Church of the Madeleine in Paris

Question: Where was Chopin's funeral held?


Answer: two weeks

Question: How long was Chopin's funeral delayed?


Answer: Over 3,000

Question: How many people arrived without an invitation?


Answer: Mozart's Requiem

Context: 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?


Answer: Louis Lefébure-Wély

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


Answer: Prince Adam Czartoryski

Question: Who led Chopin's funeral procession?


Answer: Funeral March from Chopin's Piano Sonata No. 2

Question: What was played at his graveside?


Answer: Mozart's Requiem

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


Answer: Louis Lefébure-Wély

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


Answer: Père Lachaise Cemetery

Question: Which cemetery was Chopin buried in?


Answer: Prince Adam Czartoryski

Question: Who led the funeral procession?


Answer: the Funeral March from Chopin's Piano Sonata No. 2

Question: What was played at Chopin's graveside?


Answer: Clésinger

Context: 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: Who sculpted Chopin's tombstone?


Answer: Euterpe

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


Answer: 5,000 francs

Question: How much did Chopin's funeral cost?


Answer: Jane Stirling

Question: Who paid for Chopin's funeral?


Answer: alcohol

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


Answer: Clésinger.

Question: Who designed Chopin's tombstone?


Answer: 5,000 francs

Question: How much did Chopin's funeral and monument cost?


Answer: Jane Stirling

Question: Who paid for Chopin's funeral?


Answer: sister

Question: Who took Chopin's heart to Poland?


Answer: Sand

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


Answer: Over 230

Context: 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?


Answer: piano

Question: All of his pieces include what instrument?


Answer: Over 230

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


Answer: chamber music.

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


Answer: Clementi

Context: 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: Whose piano method did Chopin teach his students?


Answer: Clementi

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


Answer: Bach and Mozart

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


Answer: Haydn

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


Answer: John Field

Context: 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: Who is credited with creating the nocturne?


Answer: ballades and scherzi

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


Answer: nocturne

Question: What new genre di John Field invent?


Answer: ballades and scherzi

Question: Chopin was first in writing what for concerts?


Answer: concert étude

Question: What musical concept did Chopin exploit?


Answer: Liszt, Clementi and Moscheles

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


Answer: seven

Context: 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: How many polonaises were published while Chopin lived?


Answer: nine

Question: How many polonaises were published after Chopin died?


Answer: mazurkas

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


Answer: faster tempos

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


Answer: greater range of melody and expression.

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


Answer: concert hall

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


Answer: the mazurka

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


Answer: nine

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


Answer: waltzes

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


Answer: the Revolutionary Étude

Context: 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?


Answer: Funeral March

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


Answer: Sonata No. 2

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


Answer: one

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


Answer: Revolutionary Étude

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


Answer: Minute Waltz

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


Answer: 65

Context: 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?


Answer: Julian Fontana

Question: Who was Chopin's musical executor?


Answer: 23

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


Answer: 17

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


Answer: 65

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


Answer: Julian Fontana

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


Answer: 1857

Question: When was Op. 74 published?


Answer: Krystyna Kobylańska

Context: 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: The Kobylańska Catalogue was named for who?


Answer: 1857

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


Answer: alternative catalogue designations

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


Answer: the Kobylańska Catalogue

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


Answer: KK

Question: What is the shortened reference for the Kobylańska Catalogue?


Answer: Krystyna Kobylańska.

Question: Who compiled the Kobylańska Catalogue?


Answer: Breitkopf & Härtel

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


Answer: Jan Ekier

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


Answer: original publishers

Question: Maurice Schlesinger and Camille Pleyel were what to Chopin?


Answer: popular 19th-century piano anthologies.

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


Answer: Paderewski

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


Answer: Jan Ekier

Question: Who edited the Polish National Edition?


Answer: Improvisation

Context: 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?


Answer: the four-bar phrase

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


Answer: Improvisation

Question: What is central to Chopin's creativeness?


Answer: Nicholas Temperley

Question: Who wrote that "improvisation is designed for an audience"?


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

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


Answer: the Barcarolle Op. 60

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


Answer: the four ballades and four scherzos

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


Answer: departure and return

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


Answer: folk features

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


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

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


Answer: mazurkas

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


Answer: drone bass

Question: What type of bass do Chopin's mazurkas exhibit?


Answer: a canon at one beat's distance

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


Answer: triple time

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


Answer: Elsner

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


Answer: martial

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


Answer: formidable

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


Answer: 21

Context: 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?


Answer: agitated expression

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


Answer: Field

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


Answer: 1833

Question: What year did Chopin meet Field?


Answer: nocturnes

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


Answer: études

Context: 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?


Answer: straightforward ternary

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


Answer: études

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


Answer: The Well-Tempered Clavier

Context: The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5.

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


Answer: Kenneth Hamilton

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


Answer: The preludes

Question: What was described as "the beginning of studies" by Schumann?


Answer: J.S. Bach's The Well-Tempered Clavier

Question: What inspired Chopin for his preludes?


Answer: generic preludes to others of his pieces

Question: Kenneth Hamilton suggests that the preludes may not have been meant as a group but rather as what?


Answer: Ferruccio Busoni

Question: Who did a recording where Étude Op. 10 No. 5. follows relude Op. 28 No. 7?


Answer: four

Context: The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and the German sonata principle". 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. 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.

Question: How many movements are No. 2, Op. 35 and No. 3, Op 58 in?


Answer: Kornel Michałowski and Jim Samson

Question: What two people claimed that Op 58 was "worthy of Brahms"?


Answer: four

Question: How many movements are in No. 2, Op. 35 and No. 3, Op 58?


Answer: The last movement

Question: Which movement was found lacking in musicality by Schumann?


Answer: Op. 58

Question: According to music historians, which sonata is similar to German tradition and worthy of Brahms?


Answer: Claude Debussy

Context: Chopin's harmonic innovations may have arisen partly from his keyboard improvisation technique. Temperley says that in his works "novel harmonic effects frequently result from the combination of ordinary appoggiaturas or passing notes with melodic figures of accompaniment", and cadences are delayed by the use of chords outside the home key (neapolitan sixths and diminished sevenths), or by sudden shifts to remote keys. Chord progressions sometimes anticipate the shifting tonality of later composers such as Claude Debussy, as does Chopin's use of modal harmony.

Question: Chopin's chord progressions are similar in style to what other composer?


Answer: harmonic innovations

Question: What likely arose due to Chopin's technique with keyboards?


Answer: Temperley

Question: Who wrote about Chopin's "novel harmonic effects"?


Answer: independent finger technique

Context: In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands.

Question: What was Chopin's style based upon?


Answer: Léon Escudier

Question: Who wrote about a Chopin 1841 recital?


Answer: his Projet de méthode

Question: What writing of Chopin talks about everything about piano playing has to do with proper fingering?


Answer: Karol Szymanowski

Context: 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). 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 well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

Question: According to J. Barrie Jones who was the only true successor to Chopin?


Answer: national modes and idioms

Question: Many people were considered influenced by Chopin's what?


Answer: Nikolai Zverev

Question: Who was Alexander Scriabin's teacher?


Answer: Karol Szymanowski

Question: Who was Chopin's worthy successor according to Jones?


Answer: Alexander Scriabin

Question: Who was devoted to the music of Chopin?


Answer: Nikolai Zverev

Question: Who was Alexander Scriabin's teacher?


Answer: Jonathan Bellman

Context: 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. 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 high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. 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". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."

Question: Who wrote that the current large concert style conflicts with Chopin's preference of intimate performances?


Answer: rigid procedures

Question: What did Chopin tend to avoid?


Answer: "always crescendo to a high note"

Question: What has been falsely credited to Chopin?


Answer: hearing in them all the most beautiful things of art

Question: What did Chopin tell a student is given up in concerts?


Answer: Berlioz

Question: Who wrote about Chopin's "chromatic embroidery"?


Answer: Hiller

Question: Who wrote that Chopin's music, when played by him, became a "colorful wreath of flowers"?


Answer: rubato

Context: Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. 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 rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice."

Question: Chopin's compositions are often played with what?


Answer: the practice in performance of disregarding strict time

Question: What does rubato mean?


Answer: rubato

Question: In Chopin's music where strict timing is disregarded, what is it called?


Answer: mazurkas

Question: What type of Chopin's music had the most disregard for strict timing according to Charles Rosen?


Answer: Friederike Müller

Context: Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."

Question: According to who did Chopin demand strictly sticking with rhythm?


Answer: Friederike Müller

Question: Which student said Chopin made sure his students knew his legato, cantabile style of playing?


Answer: rhythm.

Question: According to Friederike Müller, Chopin insisted his students have the strictest adherence to what?


Answer: sense of nationalism

Context: With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Question: Chopin was noted as introducing music to what?


Answer: 1836

Question: What year did Schumann review Chopin's piano concertos?


Answer: Poland

Question: In his review Schumann made note of Chopin's emotions for what?


Answer: the failure of the November 1830

Question: Why did Schumann say the Poles were in mourning?


Answer: Carolyne zu Sayn-Wittgenstein

Question: A biography on Chopin released under Franz Liszt's name was likely written by who?


Answer: polonaises

Question: Chopin was able to bring about a new sense of nationalism with his music because of his mazurkas and what?


Answer: Schumann

Question: Who wrote a glowing review of Chopin's love for his country through his music in 1836?


Answer: flowers

Question: Schumann described Chopin's music as cannons buried in what?


Answer: Carolyne zu Sayn-Wittgenstein

Question: Though Franz Liszt is credited with Chopin's 1863 biography, who probably actually wrote it?


Answer: Barbara Milewski

Context: Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.

Question: Who said that Chopin's familiarity with Polish music was more "urbanised" than true folk music?


Answer: Michał Kleofas Ogiński and Franciszek Lessel

Question: George Golos references what two musicians when claiming Chopin's nationalism was overrated?


Answer: Richard Taruskin

Question: Who said Chopin's works were modeled after Bach, Beethoven, Schubert and Field?


Answer: intuitive

Context: A reconciliation of these views is suggested by William Atwood: "Undoubtedly [Chopin's] use of traditional musical forms like the polonaise and mazurka roused nationalistic sentiments and a sense of cohesiveness amongst those Poles scattered across Europe and the New World ... While some sought solace in [them], others found them a source of strength in their continuing struggle for freedom. Although Chopin's music undoubtedly came to him intuitively rather than through any conscious patriotic design, it served all the same to symbolize the will of the Polish people ..."

Question: William Atwood suggested that Chopin's music wasn't purposely patriotic but what?


Answer: freedom

Question: A modern commentator, William Atwood, feels Poles not only sought solace in Chopin's music but also found them a source of strength as they continued to fight for what?


Answer: Europe and the New World

Question: Where were Poles scattered to?


Answer: Byronic flamboyance

Context: Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.

Question: Arthur Hutchings stated that Chopin's lack of what made him special?


Answer: Liszt and Henri Herz

Question: Who were two of Chopin's contemporaries?


Answer: Paris

Question: What place was considered lucky for Chopin to have arrived at considering how much he charged for piano lessons?


Answer: Arthur Hutchings

Question: Who said Chopin was unlike his romantic contemporaries Liszt and Henri Herz?


Answer: Carnaval

Context: Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

Question: In what suite did Schumann name a work for Chopin?


Answer: Ballade No. 2 in F major

Question: What piece of Chopin's work was dedicated to Schumann?


Answer: six

Question: How many of Chopin's Polish songs did Liszt transliterate for piano?


Answer: Alkan

Question: With who did Chopin feel comfortable speaking of folk music with?


Answer: qualities as a pianist and composer

Question: What was recognized about Chopin from his musical peers?


Answer: Carnaval

Question: What Schumann suite contained the name of a piece Schumann named for Chopin?


Answer: Ballade No. 2 in F major

Question: What piece did Chopin dedicate to Schumann?


Answer: Liszt

Question: What other musician shows to have elements of Chopin in his work?


Answer: Debussy

Context: Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.

Question: Who dedicated his 1915 piano Études to Chopin?


Answer: Jacques Durand

Question: For what publisher to Debussy edit Chopin's music for?


Answer: Raoul Koczalski

Question: Who was a student of Chopin's former students and actually recorded some Chopin music?


Answer: Chopin's

Question: What music did Debussy play a lot at the Paris Conservatoire?


Answer: Mainland Chinese scholars

Context: The exact nature of relations between Tibet and the Ming dynasty of China (1368–1644) is unclear. Analysis of the relationship is further complicated by modern political conflicts and the application of Westphalian sovereignty to a time when the concept did not exist. Some Mainland Chinese scholars, such as Wang Jiawei and Nyima Gyaincain, assert that the Ming dynasty had unquestioned sovereignty over Tibet, pointing to the Ming court's issuing of various titles to Tibetan leaders, Tibetans' full acceptance of these titles, and a renewal process for successors of these titles that involved traveling to the Ming capital. Scholars within China also argue that Tibet has been an integral part of China since the 13th century and that it was thus a part of the Ming Empire. But most scholars outside China, such as Turrell V. Wylie, Melvin C. Goldstein, and Helmut Hoffman, say that the relationship was one of suzerainty, that Ming titles were only nominal, that Tibet remained an independent region outside Ming control, and that it simply paid tribute until the Jiajing Emperor (1521–1566), who ceased relations with Tibet.

Question: Who were Wang Jiawei and Nyima Gyaincain?


Answer: horse trade

Context: Some scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260–1294) and his spiritual superior Drogön Chögyal Phagpa (1235–1280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402–1424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384–1415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.

Question: What important trade did the Ming Dynasty have with Tibet?


Answer: 1402–1424

Question: During what years did the Mongol leader Kublai Khan rule?


Answer: Deshin Shekpa

Question: Who did the Yongle Emperor try to build a religious alliance with?


Answer: the Karma Kagyu school

Question: Deshin Shekpa was the head of what school?


Answer: Nepal

Question: The Tibetan leaders had a diplomacy with what neighboring state?


Answer: armed resistance

Context: The Ming initiated sporadic armed intervention in Tibet during the 14th century, but did not garrison permanent troops there. At times the Tibetans also used armed resistance against Ming forays. The Wanli Emperor (r. 1572–1620) made attempts to reestablish Sino-Tibetan relations after the Mongol-Tibetan alliance initiated in 1578, which affected the foreign policy of the subsequent Qing dynasty (1644–1912) of China in their support for the Dalai Lama of the Gelug school. By the late 16th century, the Mongols were successful armed protectors of the Gelug Dalai Lama, after increasing their presence in the Amdo region. This culminated in Güshi Khan's (1582–1655) conquest of Tibet from 1637–1642 and the establishment of the Ganden Phodrang regime by the 5th Dalai Lama with his help.

Question: What did the Tibetans use against Ming forays?


Answer: the Mongols

Question: Who were the armed protectors for the Gelug Dalai Lama?


Answer: the Ganden Phodrang

Question: Which regime did Güshi Khan help establish?


Answer: 1578

Question: When was the Mongol-Tibetan alliance started?


Answer: the 9th century

Context: Tibet was once a strong power contemporaneous with Tang China (618–907). Until the Tibetan Empire's collapse in the 9th century, it was the Tang's major rival in dominating Inner Asia. The Yarlung rulers of Tibet also signed various peace treaties with the Tang, culminating in a treaty in 821 that fixed the borders between Tibet and China.

Question: In what century did the Tibetan Empire fall?


Answer: The Yarlung rulers of Tibet

Question: Who signed multiple peace treaties with the Tang?


Answer: the borders between Tibet and China

Question: What did one of the treaties between the Tang and Tibet help fix?


Answer: Tibet

Question: Who was the Tangs biggest rival?


Answer: 821

Question: What year did Tang and Tibet sign a treaty to fix the borders?


Answer: 907–960

Context: During the Five Dynasties and Ten Kingdoms period of China (907–960), while the fractured political realm of China saw no threat in a Tibet which was in just as much political disarray, there was little in the way of Sino-Tibetan relations. Few documents involving Sino-Tibetan contacts survive from the Song dynasty (960–1279). The Song were far more concerned with countering northern enemy states of the Khitan-ruled Liao dynasty (907–1125) and Jurchen-ruled Jin dynasty (1115–1234).

Question: When did the Five Dynasties and Ten Kingdoms period of China take place?


Answer: 960–1279

Question: When did the Song dynasty take place?


Answer: Song dynasty

Question: What dynasty was concerned with countering northern enemy states?


Answer: the Khitan

Question: Who ruled the Liao dynasty?


Answer: Jurchen

Question: Who ruled the Jin dynasty?


Answer: Genghis Khan

Context: In 1207, the Mongol ruler Genghis Khan (r. 1206–1227) conquered and subjugated the ethnic Tangut state of the Western Xia (1038–1227). In the same year, he established diplomatic relations with Tibet by sending envoys there. The conquest of the Western Xia alarmed Tibetan rulers, who decided to pay tribute to the Mongols. However, when they ceased to pay tribute after Genghis Khan's death, his successor Ögedei Khan (r. 1229–1241) launched an invasion into Tibet.

Question: Which ruler took Western Xia under their control?


Answer: Ögedei Khan

Question: Who was Genghis Khan's successor?


Answer: 1229–1241

Question: What years did Ögedei Khan rule?


Answer: Ögedei Khan

Question: Who invaded Tibet?


Answer: Godan

Context: The Mongol prince Godan, a grandson of Genghis Khan, raided as far as Lhasa. During his attack in 1240, Prince Godan summoned Sakya Pandita (1182–1251), leader of the Sakya school of Tibetan Buddhism, to his court in what is now Gansu in Western China. With Sakya Pandita's submission to Godan in 1247, Tibet was officially incorporated into the Mongol Empire during the regency of Töregene Khatun (1241–1246). Michael C. van Walt van Praag writes that Godan granted Sakya Pandita temporal authority over a still politically fragmented Tibet, stating that "this investiture had little real impact" but it was significant in that it established the unique "Priest-Patron" relationship between the Mongols and the Sakya lamas.

Question: Who was the Mongol prince?


Answer: Sakya Pandita

Question: Who was the leader of the Sakya school of Tibetan Buddhism?


Answer: Töregene Khatun

Question: Who was the regent of the Mongol Empire?


Answer: 1241–1246

Question: In what years was Töregene Khatun the regent of the Mongol Empire?


Answer: thirteen

Context: Starting in 1236, the Mongol prince Kublai, who later ruled as Khagan from 1260–1294, was granted a large appanage in North China by his superior, Ögedei Khan. Karma Pakshi, 2nd Karmapa Lama (1203–1283)—the head lama of the Karma Kagyu lineage of Tibetan Buddhism—rejected Kublai's invitation, so instead Kublai invited Drogön Chögyal Phagpa (1235–1280), successor and nephew of Sakya Pandita, who came to his court in 1253. Kublai instituted a unique relationship with the Phagpa lama, which recognized Kublai as a superior sovereign in political affairs and the Phagpa lama as the senior instructor to Kublai in religious affairs. Kublai also made Drogön Chögyal Phagpa the director of the government agency known as the Bureau of Buddhist and Tibetan Affairs and the ruling priest-king of Tibet, which comprised thirteen different states ruled by myriarchies.

Question: How many states were ruled by myriarchies?


Answer: Khagan

Question: What title did prince Kublai rule as from 1260 to 1294?


Answer: Ögedei Khan

Question: Who was the superior of prince Kublai?


Answer: Karma Pakshi

Question: Who became the second Karmapa Lama?


Answer: the Phagpa lama

Question: With whom did Kublai Khan have a unique relationship with?


Answer: 1279

Context: Kublai Khan did not conquer the Song dynasty in South China until 1279, so Tibet was a component of the early Mongol Empire before it was combined into one of its descendant empires with the whole of China under the Yuan dynasty (1271–1368). Van Praag writes that this conquest "marked the end of independent China," which was then incorporated into the Yuan dynasty that ruled China, Tibet, Mongolia, Korea, parts of Siberia and Upper Burma. Morris Rossabi, a professor of Asian history at Queens College, City University of New York, writes that "Khubilai wished to be perceived both as the legitimate Khan of Khans of the Mongols and as the Emperor of China. Though he had, by the early 1260s, become closely identified with China, he still, for a time, claimed universal rule", and yet "despite his successes in China and Korea, Khubilai was unable to have himself accepted as the Great Khan". Thus, with such limited acceptance of his position as Great Khan, Kublai Khan increasingly became identified with China and sought support as Emperor of China.

Question: When did Kublai Khan conquer the song dynasty?


Answer: 1271–1368

Question: When did the Yuan dynasty rule?


Answer: the Yuan dynasty

Question: Which dynasty ruled all of china?


Answer: universal rule

Question: What did Khubilai claim for a while?


Answer: China

Question: Where did Khubilai seek support as Emperor?


Answer: 1358

Context: In 1358, the Sakya viceregal regime installed by the Mongols in Tibet was overthrown in a rebellion by the Phagmodru myriarch Tai Situ Changchub Gyaltsen (1302–1364). The Mongol Yuan court was forced to accept him as the new viceroy, and Changchub Gyaltsen and his successors, the Phagmodrupa Dynasty, gained de facto rule over Tibet.

Question: What year was the Sakya viceregal regime eradicated?


Answer: the Mongols in Tibet

Question: Who placed the Sakya viceregal regime position of authority?


Answer: the Phagmodru myriarch Tai Situ Changchub Gyaltsen

Question: Who eradicated the Sakya viceregal regime?


Answer: the Phagmodrupa Dynasty

Question: Which dynasty became ruler of Tibet?


Answer: Zhu Yuanzhang

Context: In 1368, a Han Chinese revolt known as the Red Turban Rebellion toppled the Mongol Yuan dynasty in China. Zhu Yuanzhang then established the Ming dynasty, ruling as the Hongwu Emperor (r. 1368–1398). It is not clear how much the early Ming court understood the civil war going on in Tibet between rival religious sects, but the first emperor was anxious to avoid the same trouble that Tibet had caused for the Tang dynasty. Instead of recognizing the Phagmodru ruler, the Hongwu Emperor sided with the Karmapa of the nearer Kham region and southeastern Tibet, sending envoys out in the winter of 1372–1373 to ask the Yuan officeholders to renew their titles for the new Ming court.

Question: Who created the Ming Dynasty?


Answer: the Red Turban Rebellion

Question: Who caused the Yuan dynasty to fall?


Answer: Zhu Yuanzhang

Question: Who ruled as the the Hongwu Emperor?


Answer: 1368–1398

Question: What years did Zhu Yuanzhang rule as the Hongwu Emperor?


Answer: Yuan officeholders

Question: Who did the Hongwu Emperor send convoys to?


Answer: Rolpe Dorje

Context: As evident in his imperial edicts, the Hongwu Emperor was well aware of the Buddhist link between Tibet and China and wanted to foster it. Rolpe Dorje, 4th Karmapa Lama (1340–1383) rejected the Hongwu Emperor's invitation, although he did send some disciples as envoys to the court in Nanjing. The Hongwu Emperor also entrusted his guru Zongluo, one of many Buddhist monks at court, to head a religious mission into Tibet in 1378–1382 in order to obtain Buddhist texts.

Question: Who was the fourth Karmapa Lama?


Answer: Rolpe Dorje

Question: Who rejected an invitation by the Hongwu Emperor?


Answer: the Buddhist link between Tibet and China

Question: What did the the Hongwu Emperor want to continue to promote?


Answer: disciples

Question: Who did Rolpe Dorje send as envoys to court in Nanjing?


Answer: Ming government

Context: However, the early Ming government enacted a law, later rescinded, which forbade Han Chinese to learn the tenets of Tibetan Buddhism. There is little detailed evidence of Chinese—especially lay Chinese—studying Tibetan Buddhism until the Republican era (1912–1949). Despite these missions on behalf of the Hongwu Emperor, Morris Rossabi writes that the Yongle Emperor (r. 1402–1424) "was the first Ming ruler actively to seek an extension of relations with Tibet."

Question: Who created a law that did not allow Han Chinese to learn the beliefs of Tibetan Buddhism?


Answer: 1402–1424

Question: What years did the Yongle Emperor reign?


Answer: the Yongle Emperor

Question: Who worked towards obtaining a extension of relations with Tibet?


Answer: 1644–1912

Context: According to the official Twenty-Four Histories, the History of Ming compiled in 1739 by the subsequent Qing dynasty (1644–1912), the Ming dynasty established the "É-Lì-Sī Army-Civilian Marshal Office" (Chinese: 俄力思軍民元帥府) in western Tibet and installed the "Ü-Tsang Itinerant High Commandery" and "Amdo-Kham Itinerant High Commandery" to administer Kham. The Mingshi states that administrative offices were set up under these high commanderies, including one Itinerant Commandery, three Pacification Commissioner's Offices, six Expedition Commissioner's Offices, four Wanhu offices (myriarchies, in command of 10,000 households each) and seventeen Qianhu offices (chiliarchies, each in command of 1,000 households).

Question: What years did the Qing dynasty rule?


Answer: 1739

Question: what year was the history of Ming produced?


Answer: É-Lì-Sī Army-Civilian Marshal Office

Question: What did the Ming dynasty create?


Answer: seventeen Qianhu offices

Question: How many Qianhu offices were there?


Answer: western Tibet

Question: where was the É-Lì-Sī Army-Civilian Marshal Office established?


Answer: three

Context: The Ming court appointed three Princes of Dharma (法王) and five Princes (王), and granted many other titles, such as Grand State Tutors (大國師) and State Tutors (國師), to the important schools of Tibetan Buddhism, including the Karma Kagyu, Sakya, and Gelug. According to Wang Jiawei and Nyima Gyaincain, leading officials of these organs were all appointed by the central government and were subject to the rule of law. Yet Van Praag describes the distinct and long-lasting Tibetan law code established by the Phagmodru ruler Tai Situ Changchub Gyaltsen as one of many reforms to revive old Imperial Tibetan traditions.

Question: How many princes of Dharma were assigned by the Ming court?


Answer: Tai Situ Changchub Gyaltsen

Question: Who established the Tibetan law code?


Answer: Tai Situ Changchub Gyaltsen

Question: Who was the Phagmodru ruler?


Answer: Turrell V. Wylie

Context: The late Turrell V. Wylie, a former professor of the University of Washington, and Li Tieh-tseng argue that the reliability of the heavily censored History of Ming as a credible source on Sino-Tibetan relations is questionable, in the light of modern scholarship. Other historians also assert that these Ming titles were nominal and did not actually confer the authority that the earlier Yuan titles had. Van Praag writes that the "numerous economically motivated Tibetan missions to the Ming Court are referred to as 'tributary missions' in the Ming Shih." Van Praag writes that these "tributary missions" were simply prompted by China's need for horses from Tibet, since a viable horse market in Mongol lands was closed as a result of incessant conflict. Morris Rossabi also writes that "Tibet, which had extensive contacts with China during the Yuan, scarcely had diplomatic relations with the Ming."

Question: who was a professor of the University of Washington?


Answer: Tibet

Question: Who had a large amount of contacts with china during Yuan?


Answer: Morris Rossabi

Question: Who believed that Tibet barely had any diplomatic relations with the Ming?


Answer: historian Tsepon W. D. Shakabpa

Context: Historians disagree on what the relationship was between the Ming court and Tibet and whether or not Ming China had sovereignty over Tibet. Van Praag writes that Chinese court historians viewed Tibet as an independent foreign tributary and had little interest in Tibet besides a lama-patron relationship. The historian Tsepon W. D. Shakabpa supports van Praag's position. However, Wang Jiawei and Nyima Gyaincain state that these assertions by van Praag and Shakabpa are "fallacies".

Question: Who supported van Praag's beliefs?


Answer: Wang Jiawei and Nyima Gyaincain

Question: Who did not agree with van Praag and Shakabpa?


Answer: Wang and Nyima

Context: Wang and Nyima argue that the Ming emperor sent edicts to Tibet twice in the second year of the Ming dynasty, and demonstrated that he viewed Tibet as a significant region to pacify by urging various Tibetan tribes to submit to the authority of the Ming court. They note that at the same time, the Mongol Prince Punala, who had inherited his position as ruler of areas of Tibet, went to Nanjing in 1371 to pay tribute and show his allegiance to the Ming court, bringing with him the seal of authority issued by the Yuan court. They also state that since successors of lamas granted the title of "prince" had to travel to the Ming court to renew this title, and since lamas called themselves princes, the Ming court therefore had "full sovereignty over Tibet." They state that the Ming dynasty, by issuing imperial edicts to invite ex-Yuan officials to the court for official positions in the early years of its founding, won submission from ex-Yuan religious and administrative leaders in the Tibetan areas, and thereby incorporated Tibetan areas into the rule of the Ming court. Thus, they conclude, the Ming court won the power to rule Tibetan areas formerly under the rule of the Yuan dynasty.

Question: Who believed that the Ming court had full sovereignty over Tibet?


Answer: 1371

Question: What year did Wang and Nyima believe that the Mongol Prince Punala went to Nanjing?


Answer: princes

Question: What did the lamas called themselves?


Answer: imperial edicts

Question: What edicts did the Ming issue?


Answer: Journalist and author Thomas Laird

Context: Journalist and author Thomas Laird, in his book The Story of Tibet: Conversations with the Dalai Lama, writes that Wang and Nyima present the government viewpoint of the People's Republic of China in their Historical Status of China's Tibet, and fail to realize that China was "absorbed into a larger, non-Chinese political unit" during the Mongol Yuan dynasty, which Wang and Nyima paint as a characteristic Chinese dynasty succeeded by the Ming. Laird asserts that the ruling Mongol khans never administered Tibet as part of China and instead ruled them as separate territories, comparing the Mongols with the British who colonized India and New Zealand, yet stating this does not make India part of New Zealand as a consequence. Of later Mongol and Tibetan accounts interpreting the Mongol conquest of Tibet, Laird asserts that "they, like all non-Chinese historical narratives, never portray the Mongol subjugation of Tibet as a Chinese one."

Question: Who wrote the book The Story of Tibet?


Answer: the British

Question: who colonized India and New Zealand?


Answer: the government viewpoint of the People's Republic of China

Question: Who's viewpoint does Thomas Laird believe Wang and Nyima present?


Answer: A Mongol dynasty of China

Context: The Columbia Encyclopedia distinguishes between the Yuan dynasty and the other Mongol Empire khanates of Ilkhanate, Chagatai Khanate and the Golden Horde. It describes the Yuan dynasty as "A Mongol dynasty of China that ruled from 1271 to 1368, and a division of the great empire conquered by the Mongols. Founded by Kublai Khan, who adopted the Chinese dynastic name of Yüan in 1271." The Encyclopedia Americana describes the Yuan dynasty as "the line of Mongol rulers in China" and adds that the Mongols "proclaimed a Chinese-style Yüan dynasty at Khanbaliq (Beijing)." The Metropolitan Museum of Art writes that the Mongol rulers of the Yuan dynasty "adopted Chinese political and cultural models; ruling from their capitals in Dadu, they assumed the role of Chinese emperors," although Tibetologist Thomas Laird dismissed the Yuan dynasty as a non-Chinese polity and plays down its Chinese characteristics. The Metropolitan Museum of Art also noted that in spite of the gradual assimilation of Yuan monarchs, the Mongol rulers largely ignored the literati and imposed harsh policies discriminating against southern Chinese. In his Kublai Khan: His Life and Times, Rossabi explains that Kublai "created government institutions that either resembled or were the same as the traditional Chinese ones", and he "wished to signal to the Chinese that he intended to adopt the trappings and style of a Chinese ruler".

Question: How did the The Columbia Encyclopedia describe the Yuan dynasty?


Answer: the line of Mongol rulers in China

Question: How did the Encyclopedia Americana describe the Yuan Dynasty?


Answer: a non-Chinese polity

Question: What did Thomas Laird dismiss the Yuan dynasty as?


Answer: Rossabi

Question: Who wrote the book Khubilai Khan?


Answer: 1271 to 1368

Question: When did the yuan dynasty start and end?


Answer: 1311–1320

Context: Nevertheless, the ethno-geographic caste hierarchy favoring the Mongols and other ethnicities were accorded higher status than the Han Chinese majority. Although Han Chinese who were recruited as advisers were often actually more influential than high officials, their status was not as well defined. Kublai also abolished the imperial examinations of China's civil service legacy, which was not reinstated until Ayurbarwada Buyantu Khan's reign (1311–1320). Rossabi writes that Kublai recognized that in order to rule China, "he had to employ Chinese advisors and officials, yet he could not rely totally on Chinese advisers because he had to maintain a delicate balancing act between ruling the sedentary civilization of China and preserving the cultural identity and values of the Mongols." And "in governing China, he was concerned with the interests of his Chinese subjects, but also with exploiting the resources of the empire for his own aggrandizement. His motivations and objectives alternated from one to the other throughout his reign," according to Rossabi. Van Praag writes in The Status of Tibet that the Tibetans and Mongols, on the other hand, upheld a dual system of rule and an interdependent relationship that legitimated the succession of Mongol khans as universal Buddhist rulers, or chakravartin. Van Praag writes that "Tibet remained a unique part of the Empire and was never fully integrated into it," citing examples such as a licensed border market that existed between China and Tibet during the Yuan.

Question: When did Ayurbarwada Buyantu Khan reign?


Answer: a licensed border market

Question: During the Yuan what existed between China and Tibet?


Answer: the Mongols and other ethnicities

Question: Who was granted higher status than the Han Chinese majority?


Answer: the Ming

Context: The official position of the Ministry of Foreign Affairs of the People's Republic of China is that the Ming implemented a policy of managing Tibet according to conventions and customs, granting titles and setting up administrative organs over Tibet. The State Council Information Office of the People's Republic states that the Ming dynasty's Ü-Tsang Commanding Office governed most areas of Tibet. It also states that while the Ming abolished the policy council set up by the Mongol Yuan to manage local affairs in Tibet and the Mongol system of Imperial Tutors to govern religious affairs, the Ming adopted a policy of bestowing titles upon religious leaders who had submitted to the Ming dynasty. For example, an edict of the Hongwu Emperor in 1373 appointed the Tibetan leader Choskunskyabs as the General of the Ngari Military and Civil Wanhu Office, stating:

Question: Who abolished the policy council?


Answer: the General of the Ngari Military and Civil Wanhu Office

Question: What was the Tibetan leader Choskunskyabs appointed as?


Answer: Ming dynasty's Ü-Tsang Commanding Office

Question: Who governed most areas of Tibet?


Answer: Beijing

Context: Chen Qingying, Professor of History and Director of the History Studies Institute under the China Tibetology Research Center in Beijing, writes that the Ming court conferred new official positions on ex-Yuan Tibetan leaders of the Phachu Kargyu and granted them lower-ranking positions. Of the county (zong or dzong) leaders of Neiwo Zong and Renbam Zong, Chen states that when "the Emperor learned the actual situation of the Phachu Kargyu, the Ming court then appointed the main Zong leaders to be senior officers of the Senior Command of Dbus and Gtsang." The official posts that the Ming court established in Tibet, such as senior and junior commanders, offices of Qianhu (in charge of 1,000 households), and offices of Wanhu (in charge of 10,000 households), were all hereditary positions according to Chen, but he asserts that "the succession of some important posts still had to be approved by the emperor," while old imperial mandates had to be returned to the Ming court for renewal.

Question: Where is the China Tibetology Research Center located?


Answer: Chen Qingying

Question: Who was the Director of the History Studies Institute?


Answer: 1,000 households

Question: How many households were the offices of Qianhu in charge of?


Answer: 10,000 households

Question: How many households were the offices of Wanhu in charge of?


Answer: John Powers

Context: According to Tibetologist John Powers, Tibetan sources counter this narrative of titles granted by the Chinese to Tibetans with various titles which the Tibetans gave to the Chinese emperors and their officials. Tribute missions from Tibetan monasteries to the Chinese court brought back not only titles, but large, commercially valuable gifts which could subsequently be sold. The Ming emperors sent invitations to ruling lamas, but the lamas sent subordinates rather than coming themselves, and no Tibetan ruler ever explicitly accepted the role of being a vassal of the Ming.

Question: What was the name of the Tibetologist?


Answer: ruling lamas

Question: Who did the Ming emperors send invitations to?


Answer: subordinates

Question: When the lamas received an invite from the emperors, who did they send instead?


Answer: the Tarim Basin and oasis of Turpan

Context: Hans Bielenstein writes that as far back as the Han dynasty (202 BCE–220 CE), the Han Chinese government "maintained the fiction" that the foreign officials administering the various "Dependent States" and oasis city-states of the Western Regions (composed of the Tarim Basin and oasis of Turpan) were true Han representatives due to the Han government's conferral of Chinese seals and seal cords to them.

Question: What was the western regions composed of?


Answer: foreign officials

Question: Who believed that they were the true Han Western representatives?


Answer: Education Minister

Context: Wang and Nyima state that after the official title "Education Minister" was granted to Tai Situ Changchub Gyaltsen (1302–1364) by the Yuan court, this title appeared frequently with his name in various Tibetan texts, while his Tibetan title "Degsi" (sic properly sde-srid or desi) is seldom mentioned. Wang and Nyima take this to mean that "even in the later period of the Yuan dynasty, the Yuan imperial court and the Phagmodrupa Dynasty maintained a Central-local government relation." The Tai Situpa is even supposed to have written in his will: "In the past I received loving care from the emperor in the east. If the emperor continues to care for us, please follow his edicts and the imperial envoy should be well received."

Question: What title was given by the Yuan court to Tai Situ Changchub Gyaltsen ?


Answer: Degsi

Question: What Tibetan title was hardly ever mentioned when referring to Tai Situ Changchub Gyaltsen?


Answer: Phagmodrupa Dynasty

Question: What dynasty kept a Central-local government relation with the Yuan imperial court?


Answer: Wang and Nyima

Question: What two people claim the title of Education Minister was often seen next to Tai Situ Changchub Gyaltsen's name in Tibetan texts?


Answer: The Tai Situpa

Question: Who wrote in their will that they received loving care from the emperor in the east?


Answer: Changchub Gyaltsen

Context: However, Lok-Ham Chan, a professor of history at the University of Washington, writes that Changchub Gyaltsen's aims were to recreate the old Tibetan Kingdom that existed during the Chinese Tang dynasty, to build "nationalist sentiment" amongst Tibetans, and to "remove all traces of Mongol suzerainty." Georges Dreyfus, a professor of religion at Williams College, writes that it was Changchub Gyaltsen who adopted the old administrative system of Songtsän Gampo (c. 605–649)—the first leader of the Tibetan Empire to establish Tibet as a strong power—by reinstating its legal code of punishments and administrative units. For example, instead of the 13 governorships established by the Mongol Sakya viceroy, Changchub Gyaltsen divided Central Tibet into districts (dzong) with district heads (dzong dpon) who had to conform to old rituals and wear clothing styles of old Imperial Tibet. Van Praag asserts that Changchub Gyaltsen's ambitions were to "restore to Tibet the glories of its Imperial Age" by reinstating secular administration, promoting "national culture and traditions," and installing a law code that survived into the 20th century.

Question: Who divided Central Tibet into districts?


Answer: Van Praag

Question: Who strongly believed Changchub Gyaltsen wanted to restore the glories of its Imperial age to Tibet?


Answer: the University of Washington

Question: What university was Lok-Ham Chan a professor at?


Answer: all traces of Mongol suzerainty

Question: What did Lok-Ham Chan claim Changchub Gyaltsen wanted to remove?


Answer: Sagya Gyaincain

Context: According to Chen, the Ming officer of Hezhou (modern day Linxia) informed the Hongwu Emperor that the general situation in Dbus and Gtsang "was under control," and so he suggested to the emperor that he offer the second Phagmodru ruler, Jamyang Shakya Gyaltsen, an official title. According to the Records of the Founding Emperor, the Hongwu Emperor issued an edict granting the title "Initiation State Master" to Sagya Gyaincain, while the latter sent envoys to the Ming court to hand over his jade seal of authority along with tribute of colored silk and satin, statues of the Buddha, Buddhist scriptures, and sarira.

Question: Who did the Hongwu Emperor grant the title Initiation State Master to?


Answer: the Ming officer of Hezhou

Question: Who suggested to the emperor that an official title be granted to second Phagmodru ruler?


Answer: Jamyang Shakya Gyaltsen

Question: Who was the second Phagmodru ruler?


Answer: the Ming officer of Hezhou

Question: Who told the emperor that the situation in Dbus and Gtsang were under control?


Answer: to the Ming court

Question: Where were the envoys sent?


Answer: the Phagmodrupa

Context: Dreyfus writes that after the Phagmodrupa lost its centralizing power over Tibet in 1434, several attempts by other families to establish hegemonies failed over the next two centuries until 1642 with the 5th Dalai Lama's effective hegemony over Tibet.

Question: Who lost their power over Tibet?


Answer: 1434

Question: What year did the Phagmodrupa lose their power over Tibet?


Answer: 1642

Question: What year did the 5th Dalai lama start to dominate over Tibet?


Answer: hegemonies

Question: What did the other families fail to establish?


Answer: the Karmapa Kargyu

Context: The Ming dynasty granted titles to lamas of schools such as the Karmapa Kargyu, but the latter had previously declined Mongol invitations to receive titles. When the Ming Yongle Emperor invited Je Tsongkhapa (1357–1419), founder of the Gelug school, to come to the Ming court and pay tribute, the latter declined. Wang and Nyima write that this was due to old age and physical weakness, and also because of efforts being made to build three major monasteries. Chen Qingying states that Tsongkhapa wrote a letter to decline the Emperor's invitation, and in this reply, Tsongkhapa wrote:

Question: The Ming Dynasty granted what titles to lamas of schools?


Answer: Mongol

Question: Who did the Ming Dynasty decline titles from after receiving invitations?


Answer: Je Tsongkhapa

Question: Who was the founder of the Gelug school?


Answer: the Ming Yongle Emperor

Question: Who invited Je Tsongkhapa to come pay tribute?


Answer: Tsongkhapa

Question: Who wrote the letter declining the Emperor's invitation?


Answer: 1407

Context: A. Tom Grunfeld says that Tsongkhapa claimed ill health in his refusal to appear at the Ming court, while Rossabi adds that Tsongkhapa cited the "length and arduousness of the journey" to China as another reason not to make an appearance. This first request by the Ming was made in 1407, but the Ming court sent another embassy in 1413, this one led by the eunuch Hou Xian (候顯; fl. 1403–1427), which was again refused by Tsongkhapa. Rossabi writes that Tsongkhapa did not want to entirely alienate the Ming court, so he sent his disciple Chosrje Shākya Yeshes to Nanjing in 1414 on his behalf, and upon his arrival in 1415 the Yongle Emperor bestowed upon him the title of "State Teacher"—the same title earlier awarded the Phagmodrupa ruler of Tibet. The Xuande Emperor (r. 1425–1435) even granted this disciple Chosrje Shākya Yeshes the title of a "King" (王). This title does not appear to have held any practical meaning, or to have given its holder any power, at Tsongkhapa's Ganden Monastery. Wylie notes that this—like the Karma Kargyu—cannot be seen as a reappointment of Mongol Yuan offices, since the Gelug school was created after the fall of the Yuan dynasty.

Question: When did the Ming first request Tsongkhapa to come to court?


Answer: 1413

Question: When did the Ming court send a second request to Tsongkhapa?


Answer: his disciple Chosrje Shākya Yeshes

Question: Who did Tsongkhapa send in his place to Nanjing?


Answer: 1414

Question: When was Chosrje Shākya Yeshes sent to Nanjing?