paragraph_text: 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.

paragraph_text: In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7]

paragraph_text: 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.

paragraph_text: 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.

paragraph_text: 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.

paragraph_text: 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.

paragraph_text: 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.

paragraph_text: 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.

paragraph_text: 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.

paragraph_text: 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.

paragraph_text: 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.

paragraph_text: Chopin seldom performed publicly in Paris. In later years he generally gave a single annual concert at the Salle Pleyel, a venue that seated three hundred. He played more frequently at salons, but preferred playing at his own Paris apartment for small groups of friends. The musicologist Arthur Hedley has observed that "As a pianist Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than thirty in the course of his lifetime." The list of musicians who took part in some of his concerts provides an indication of the richness of Parisian artistic life during this period. Examples include a concert on 23 March 1833, in which Chopin, Liszt and Hiller performed (on pianos) a concerto by J.S. Bach for three keyboards; and, on 3 March 1838, a concert in which Chopin, his pupil Adolphe Gutmann, Charles-Valentin Alkan, and Alkan's teacher Joseph Zimmermann performed Alkan's arrangement, for eight hands, of two movements from Beethoven's 7th symphony. Chopin was also involved in the composition of Liszt's Hexameron; he wrote the sixth (and final) variation on Bellini's theme. Chopin's music soon found success with publishers, and in 1833 he contracted with Maurice Schlesinger, who arranged for it to be published not only in France but, through his family connections, also in Germany and England.

paragraph_text: 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.

paragraph_text: Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".

paragraph_text: 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.

paragraph_text: 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.

paragraph_text: ``The Storm ''is a short story written by the American writer Kate Chopin in 1898. The story takes place during the 19th century somewhere in the South, where storms are frequent and dangerous. It did not appear in print in Chopin's lifetime, but it was published in The Complete Works of Kate Chopin in 1969. This story is the sequel to Chopin's`` At the 'Cadian Ball''.

paragraph_text: By the 12th century, Ireland was divided politically into a shifting hierarchy of petty kingdoms and over-kingdoms. Power was exercised by the heads of a few regional dynasties vying against each other for supremacy over the whole island. One of these men, King Diarmait Mac Murchada of Leinster was forcibly exiled by the new High King, Ruaidri mac Tairrdelbach Ua Conchobair of the Western kingdom of Connacht. Fleeing to Aquitaine, Diarmait obtained permission from Henry II to recruit Norman knights to regain his kingdom. The first Norman knight landed in Ireland in 1167, followed by the main forces of Normans, Welsh and Flemings. Several counties were restored to the control of Diarmait, who named his son - in - law, the Norman Richard de Clare, known as Strongbow, heir to his kingdom. This troubled King Henry, who feared the establishment of a rival Norman state in Ireland. Accordingly, he resolved to establish his authority. In 1177 Prince John Lackland was made Lord of Ireland by his father Henry II of England at the Council of Oxford.

paragraph_text: The Royal coat of arms of the United Kingdom are "Quarterly, I and IV Gules three lions passant guardant in pale Or [for England]; II Or a lion rampant within a double tressure flory-counter-flory Gules [for Scotland]; III Azure a harp Or stringed Argent [for Ireland]". The supporters are the Lion and the Unicorn; the motto is "Dieu et mon droit" (French: "God and my Right"). Surrounding the shield is a representation of a Garter bearing the motto of the Chivalric order of the same name; "Honi soit qui mal y pense". (Old French: "Shame be to him who thinks evil of it"). In Scotland, the monarch uses an alternative form of the arms in which quarters I and IV represent Scotland, II England, and III Ireland. The mottoes are "In Defens" (an abbreviated form of the Scots "In My Defens God Me Defend") and the motto of the Order of the Thistle; "Nemo me impune lacessit". (Latin: "No-one provokes me with impunity"); the supporters are the unicorn and lion, who support both the escutcheon and lances, from which fly the flags of Scotland and England.

paragraph_text: 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: When was the country to which stringed argent is what a lion is to the country the person who funded Chopin's funeral invited him to?
Answer: 1167