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: In October 1810, six months after Fryderyk's birth, the family moved to Warsaw, where his father acquired a post teaching French at the Warsaw Lyceum, then housed in the Saxon Palace. Fryderyk lived with his family in the Palace grounds. The father played the flute and violin; the mother played the piano and gave lessons to boys in the boarding house that the Chopins kept. Chopin was of slight build, and even in early childhood was prone to illnesses.

paragraph_text: 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.

paragraph_text: Literatura Mondo ("Literary World") was a literary Esperanto periodical and publishing house in Budapest, Hungary between 1922 and 1949. It became the focal point of the so-called Budapest School of Esperanto literature. It was founded by Tivadar Soros, father of the Hungarian-born American investor, business magnate, billionare, open society ideologist George Soros.

paragraph_text: During 1824–28 Chopin spent his vacations away from Warsaw, at a number of locales.[n 4] In 1824 and 1825, at Szafarnia, he was a guest of Dominik Dziewanowski, the father of a schoolmate. Here for the first time he encountered Polish rural folk music. His letters home from Szafarnia (to which he gave the title "The Szafarnia Courier"), written in a very modern and lively Polish, amused his family with their spoofing of the Warsaw newspapers and demonstrated the youngster's literary gift.

paragraph_text: Rudi Graetz (1907 – 1 October 1977) was a German esperantist. He was president of the ""Central Workers' Circle of Friends of Esperanto"", part of the quasi-governmental Cultural Association in the former German Democratic Republic, and committee member of the Universal Esperanto Association.

paragraph_text: 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.

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: Georges Lagrange (August 31, 1928 in Gagny, Seine-Saint-Denis – April 30, 2004 in Poitiers) was a French Esperantist writer and member of Academy of Esperanto. He translated several theater pieces from French to Esperanto, acted in some of them, and wrote poems and detective novels under the pseudonym "Serĝo Elgo".

paragraph_text: However, Vienna's fall as the most important musical center for orchestral composition during the late 1820s, precipitated by the deaths of Beethoven and Schubert, marked the Classical style's final eclipse -- and the end of its continuous organic development of one composer learning in close proximity to others. Franz Liszt and Frédéric Chopin visited Vienna when they were young, but they then moved on to other cities. Composers such as Carl Czerny, while deeply influenced by Beethoven, also searched for new ideas and new forms to contain the larger world of musical expression and performance in which they lived.

paragraph_text: One of the most famous people born in Warsaw was Maria Skłodowska-Curie, who achieved international recognition for her research on radioactivity and was the first female recipient of the Nobel Prize. Famous musicians include Władysław Szpilman and Frédéric Chopin. Though Chopin was born in the village of Żelazowa Wola, about 60 km (37 mi) from Warsaw, he moved to the city with his family when he was seven months old. Casimir Pulaski, a Polish general and hero of the American Revolutionary War, was born here in 1745.

paragraph_text: After some ten years of development, which Zamenhof spent translating literature into Esperanto as well as writing original prose and verse, the first book of Esperanto grammar was published in Warsaw on July 26, 1887. The number of speakers grew rapidly over the next few decades, at first primarily in the Russian Empire and Central Europe, then in other parts of Europe, the Americas, China, and Japan. In the early years, speakers of Esperanto kept in contact primarily through correspondence and periodicals, but in 1905 the first World Congress of Esperanto speakers was held in Boulogne-sur-Mer, France. Since then world congresses have been held in different countries every year, except during the two World Wars. Since the Second World War, they have been attended by an average of more than 2000 people and up to 6000 people.

paragraph_text: 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 ..."

paragraph_text: He was also, for a time, a prominent Esperanto author, translator and activist, until in 1911 he suddenly, without explanation, abandoned the Esperanto movement. Bein became at least as well known for his involvement with Esperanto as for his medical accomplishments, and as much for the manner in which he left the Esperanto movement as for what he had accomplished within it.

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: 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: Lidia Zamenhof (; 29 January 1904–1942) was a Polish writer, publisher, translator and the youngest daughter of L. L. Zamenhof, the creator of Esperanto. She was born on 29 January 1904 in Warsaw, then in partitioned Poland. She was an active promoter of Esperanto as well as of Homaranismo, a form of religious humanism first defined by her father.

paragraph_text: Irana Esperantisto ("Iranian Esperantist") is an independent quarterly culture magazine, which is published in Esperanto and in Persian in Tehran and distributed internationally. Its Persian title is "Payame Sabz-andishan" (literally: Message of the Green-Thinkers or the Green-Adepts). About half of the content of each edition is in Esperanto and the other half in Persian.

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: Kontakto is an Esperanto magazine published by TEJO and supported by the Universal Esperanto Association (UEA). The magazine has readers in about 90 countries of the world. It started in 1963 through a proposal of the UEA committee by Humphrey Tonkin, who became its first editor in chief and who provided a magazine that touched on topics of interest to Esperanto youth. The magazine often used the slogan "In Esperanto, but not about Esperanto."

Question: Where did Chopin live with his family in the city where Esperanto was created?
Answer: Saxon Palace.