romikgosai/squad_modified huggingface dataset:
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.

Questions and answers:
['
Q: Who did Chopin play for while she sang?
A: Delfina Potocka', '
Q: In 1849 where did Chopin live?
A: Chaillot', "
Q: Who was anonymously paying for Chopin's apartment?
A: Princess Obreskoff", '
Q: When did Chopin return to Paris?
A: November', '
Q: Chopin accompanied which singer for friends?
A: Delfina Potocka', '
Q: Where did his friends found Chopin an apartment in 1849?
A: Chaillot', "
Q: Who paid for Chopin's apartment in Chaillot?
A: Princess Obreskoff.", '
Q: When did Jenny Lind visit Chopin?
A: June 1849']
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."

Questions and answers:
['
Q: When did his sister come to stay with Chopin?
A: June 1849', '
Q: In September 1849 where did Chopin take up residence?
A: Place Vendôme 12', '
Q: Which family member came to Paris in June 1849?
A: his sister', "
Q: Who accompanied Chopin's sister to Paris?
A: her husband and daughter", '
Q: Who gave Chopin a loan in September for an apartment?
A: Jane Stirling', "
Q: What did Parisian ladies consider proper etiquette when in Chopin's room?
A: to faint"]
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.

Questions and answers:
['
Q: Why did Chopin request being cut open after his death?
A: fear of being buried alive', '
Q: What did Chopin reply to the doctor when asked is he was suffering?
A: "No longer"', "
Q: Who made Chopin's death mask?
A: Clésinger", '
Q: Why did Chopin want his body opened when he died?
A: fear of being buried alive', "
Q: What did Solange's husband make hours after Chopin's death along with his death mask?
A: a cast of his left hand."]
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.

Questions and answers:
["
Q: What is listed as Chopin's official cause of death?
A: tuberculosis", "
Q: What was the name of Chopin's doctor?
A: Jean Cruveilhier", '
Q: What has the Polish government not allowed to find true cause of death?
A: DNA testing', "
Q: What was the cause of death on Chopin's death certificate?
A: tuberculosis", "
Q: Who was Chopin's physician?
A: Jean Cruveilhier", "
Q: Other possiblities for Chopin's death include cirrhosis, alpha 1-antitrypsin deficiency, and what?
A: cystic fibrosis", "
Q: Who has denied testing Chopin's DNA to determine the actual cause of death?
A: the Polish government."]
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.

Questions and answers:
["
Q: Where was Chopin's funeral held?
A: Church of the Madeleine", "
Q: How long was Chopin's funeral delayed?
A: two weeks", "
Q: How many people arrived for Chopin's funeral?
A: Over 3,000", "
Q: Where was Chopin's funeral held?
A: the Church of the Madeleine in Paris", "
Q: How long was Chopin's funeral delayed?
A: two weeks", '
Q: How many people arrived without an invitation?
A: Over 3,000']
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.

Questions and answers:
["
Q: What song was sung at Chopin's funeral?
A: Mozart's Requiem", "
Q: Who was the organist at Chopin's funeral?
A: Louis Lefébure-Wély", "
Q: Who led Chopin's funeral procession?
A: Prince Adam Czartoryski", "
Q: What was played at his graveside?
A: Funeral March from Chopin's Piano Sonata No. 2", "
Q: What Mozart song was sung at Chopin's funeral?
A: Mozart's Requiem", "
Q: Who was the organist for Chopin's funeral?
A: Louis Lefébure-Wély", '
Q: Which cemetery was Chopin buried in?
A: Père Lachaise Cemetery', '
Q: Who led the funeral procession?
A: Prince Adam Czartoryski', "
Q: What was played at Chopin's graveside?
A: the Funeral March from Chopin's Piano Sonata No. 2"]
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.

Questions and answers:
["
Q: Who sculpted Chopin's tombstone?
A: Clésinger", "
Q: What is the name of the muse carved on Chopin's tombstone?
A: Euterpe", "
Q: How much did Chopin's funeral cost?
A: 5,000 francs", "
Q: Who paid for Chopin's funeral?
A: Jane Stirling", "
Q: Chopin's sister Ludwika took his heart back to Warsaw preserved in what?
A: alcohol", "
Q: Who designed Chopin's tombstone?
A: Clésinger.", "
Q: How much did Chopin's funeral and monument cost?
A: 5,000 francs", "
Q: Who paid for Chopin's funeral?
A: Jane Stirling", "
Q: Who took Chopin's heart to Poland?
A: sister", '
Q: Who ended up with the 200 letters from Sand to Chopin?
A: Sand']
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.

Questions and answers:
["
Q: How many of Chopin's works still exist?
A: Over 230", '
Q: All of his pieces include what instrument?
A: piano', '
Q: How many Chopin pieces are known to have survived?
A: Over 230', "
Q: Only a few of Chopin's pieces involve more than the piano, including piano concertos, songs and what?
A: chamber music."]
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.

Questions and answers:
['
Q: Whose piano method did Chopin teach his students?
A: Clementi', '
Q: Whose piano method did Chopin use with his students?
A: Clementi', '
Q: Who did Chopin say were the two most important composers in his own music influences?
A: Bach and Mozart', '
Q: Chopin looked to Beethoven, Mozart, Clementi and who for his own music education?
A: Haydn']
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).

Questions and answers:
['
Q: Who is credited with creating the nocturne?
A: John Field', '
Q: Chopin was the first person to create what as singular concert pieces?
A: ballades and scherzi', '
Q: What new genre di John Field invent?
A: nocturne', '
Q: Chopin was first in writing what for concerts?
A: ballades and scherzi', '
Q: What musical concept did Chopin exploit?
A: concert étude', '
Q: What three other musicians were developing the new genre?
A: Liszt, Clementi and Moscheles']
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.

Questions and answers:
['
Q: How many polonaises were published while Chopin lived?
A: seven', '
Q: How many polonaises were published after Chopin died?
A: nine', '
Q: Chopin was credited for making what more internationally known?
A: mazurkas', "
Q: What is different about Chopin's waltzes versus a ballroom waltz?
A: faster tempos", '
Q: What did Chopin add to the modern dance of his era?
A: greater range of melody and expression.', "
Q: Chopin's Polish dance music was developed for what type of hall?
A: concert hall", '
Q: What was Chopin responsible for making popular with Euorpeans?
A: the mazurka', '
Q: How many Chopin polonaises were published after his death?
A: nine', '
Q: What dance music of Chopin was written more for recitals than ballrooms?
A: waltzes']
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.

Questions and answers:
['
Q: What is another title Op. 10, No. 12 has garnered? 
A: the Revolutionary Étude', '
Q: What is the only piece Chopin gave an actual title to?
A: Funeral March', '
Q: The Funeral March was written as part of what piece?
A: Sonata No. 2', '
Q: How many instrumental works did Chopin give a descriptive name to?
A: one', '
Q: What descriptive name was Op. 10, No. 12 given?
A: Revolutionary Étude', '
Q: What descriptive name was Op. 64, No. 1 given?
A: Minute Waltz']
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.

Questions and answers:
['
Q: What was the last number Chopin gave to an opus?
A: 65', "
Q: Who was Chopin's musical executor?
A: Julian Fontana", '
Q: How many unfinished pieces did Julian Fontana make into eight more opus numbers?
A: 23', '
Q: Op. 74 is made up of how many Polish songs?
A: 17', '
Q: What is the last opus number that Chopin used?
A: 65', '
Q: Who grouped 23 unpublished pieces and published them as Opp. 66-73 in 1855?
A: Julian Fontana', '
Q: When was Op. 74 published?
A: 1857']
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.

Questions and answers:
['
Q: The Kobylańska Catalogue was named for who?
A: Krystyna Kobylańska', '
Q: Pieces published after what year stopped receiving opus numbers?
A: 1857', '
Q: What have pieces published after 1857 been given rather than opus numbers?
A: alternative catalogue designations', "
Q: What is the current musicologist reference for Chopin's pieces?
A: the Kobylańska Catalogue", '
Q: What is the shortened reference for the Kobylańska Catalogue?
A: KK', '
Q: Who compiled the Kobylańska Catalogue?
A: Krystyna Kobylańska.']
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.

Questions and answers:
["
Q: Who released the first collection of Chopin's works?
A: Breitkopf & Härtel", '
Q: Who edited the Polish "National Edition" of Chopin\'s works?
A: Jan Ekier', '
Q: Maurice Schlesinger and Camille Pleyel were what to Chopin?
A: original publishers', "
Q: Where did Chopin's work start t oshow up?
A: popular 19th-century piano anthologies.", "
Q: What was the name under scholarly publications of Chopin's work form 1937 to 1966?
A: Paderewski", '
Q: Who edited the Polish National Edition?
A: Jan Ekier']
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.

Questions and answers:
["
Q: What is central to Chopin's process?
A: Improvisation", "
Q: Rosen suggests that a central part of Chopin's uniqueness is how he handles what?
A: the four-bar phrase", "
Q: What is central to Chopin's creativeness?
A: Improvisation", '
Q: Who wrote that "improvisation is designed for an audience"?
A: Nicholas Temperley', "
Q: What did Rosen suggest was important about chopin's personality?
A: his flexible handling of the four-bar phrase as a structural unit."]
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."

Questions and answers:
["
Q: What piece does J. Barrie Jones pinpoint as a great example of Chopin's palette?
A: the Barcarolle Op. 60", "
Q: What does J. Barrie Jones feel stands supreme of Chopin's concert pieces?
A: the four ballades and four scherzos", "
Q: What form does Temperley feel that Chopin's ballades and scherzos are based on?
A: departure and return"]
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.

Questions and answers:
["
Q: Chopin's mazurkas contain more of what than his other compositions? 
A: folk features", "
Q: What form are Chopin's mazurkas and waltzes in?
A: straightforward ternary or episodic form, sometimes with a coda.", "
Q: Which of Chopin's works shows more folk aspects?
A: mazurkas", "
Q: What type of bass do Chopin's mazurkas exhibit?
A: drone bass", "
Q: What does Chopin's Op. 63 No. 3 have that is rare?
A: a canon at one beat's distance"]
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.

Questions and answers:
["
Q: What time are Chopin's polonaises written in?
A: triple time", "
Q: Chopin's ability to create an advanced polonasises surpassed even two of his teachers, Zywny and who?
A: Elsner", "
Q: Chopin's polonaise often have what kind of rhythm in their melodies?
A: martial", "
Q: Chopin's polonaises needed what kind of playing technique?
A: formidable"]
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.

Questions and answers:
['
Q: How many nocturnes did Chopin compose?
A: 21', "
Q: What is it about the middle of Chopin's nocturnes that increases their drama?
A: agitated expression", "
Q: Chopin's nocturnes were more structured than who?
A: Field", '
Q: What year did Chopin meet Field?
A: 1833', "
Q: Which type of Chopin's compositons were difficult for perfomers due to their middle sections?
A: nocturnes"]
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).

Questions and answers:
['
Q: What pieces of his did Chopin use to teach his technique?
A: études', "
Q: What form are most of Chopin's études in?
A: straightforward ternary", '
Q: Chopin often taught his piano technique using what form of music he wrote?
A: études']
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.

Questions and answers:
["
Q: What piece of Bach's did Chopin take inspiration for his preludes?
A: The Well-Tempered Clavier", "
Q: Who suggested that Chopin's preludes were not intended to be played as a group?
A: Kenneth Hamilton", '
Q: What was described as "the beginning of studies" by Schumann?
A: The preludes', "
Q: What inspired Chopin for his preludes?
A: J.S. Bach's The Well-Tempered Clavier", '
Q: Kenneth Hamilton suggests that the preludes may not have been meant as a group but rather as what?
A: generic preludes to others of his pieces', '
Q: Who did a recording where Étude Op. 10 No. 5. follows relude Op. 28 No. 7?
A: Ferruccio Busoni']
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.

Questions and answers:
['
Q: How many movements are No. 2, Op. 35 and No. 3, Op 58 in?
A: four', '
Q: What two people claimed that Op 58 was "worthy of Brahms"?
A: Kornel Michałowski and Jim Samson', '
Q: How many movements are in No. 2, Op. 35 and No. 3, Op 58?
A: four', '
Q: Which movement was found lacking in musicality by Schumann?
A: The last movement', '
Q: According to music historians, which sonata is similar to German tradition and worthy of Brahms?
A: Op. 58']