romikgosai/squad_modified_2 huggingface dataset:
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.

Q1: Who sculpted Chopin's tombstone?
A1: Clésinger
Q2: What is the name of the muse carved on Chopin's tombstone?
A2: Euterpe
Q3: How much did Chopin's funeral cost?
A3: 5,000 francs
Q4: Who paid for Chopin's funeral?
A4: Jane Stirling
Q5: Chopin's sister Ludwika took his heart back to Warsaw preserved in what?
A5: alcohol
Q6: Who designed Chopin's tombstone?
A6: Clésinger.
Q7: How much did Chopin's funeral and monument cost?
A7: 5,000 francs
Q8: Who paid for Chopin's funeral?
A8: Jane Stirling
Q9: Who took Chopin's heart to Poland?
A9: sister
Q10: Who ended up with the 200 letters from Sand to Chopin?
A10: 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.

Q1: How many of Chopin's works still exist?
A1: Over 230
Q2: All of his pieces include what instrument?
A2: piano
Q3: How many Chopin pieces are known to have survived?
A3: Over 230
Q4: Only a few of Chopin's pieces involve more than the piano, including piano concertos, songs and what?
A4: 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.

Q1: Whose piano method did Chopin teach his students?
A1: Clementi
Q2: Whose piano method did Chopin use with his students?
A2: Clementi
Q3: Who did Chopin say were the two most important composers in his own music influences?
A3: Bach and Mozart
Q4: Chopin looked to Beethoven, Mozart, Clementi and who for his own music education?
A4: 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).

Q1: Who is credited with creating the nocturne?
A1: John Field
Q2: Chopin was the first person to create what as singular concert pieces?
A2: ballades and scherzi
Q3: What new genre di John Field invent?
A3: nocturne
Q4: Chopin was first in writing what for concerts?
A4: ballades and scherzi
Q5: What musical concept did Chopin exploit?
A5: concert étude
Q6: What three other musicians were developing the new genre?
A6: 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.

Q1: How many polonaises were published while Chopin lived?
A1: seven
Q2: How many polonaises were published after Chopin died?
A2: nine
Q3: Chopin was credited for making what more internationally known?
A3: mazurkas
Q4: What is different about Chopin's waltzes versus a ballroom waltz?
A4: faster tempos
Q5: What did Chopin add to the modern dance of his era?
A5: greater range of melody and expression.
Q6: Chopin's Polish dance music was developed for what type of hall?
A6: concert hall
Q7: What was Chopin responsible for making popular with Euorpeans?
A7: the mazurka
Q8: How many Chopin polonaises were published after his death?
A8: nine
Q9: What dance music of Chopin was written more for recitals than ballrooms?
A9: 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.

Q1: What is another title Op. 10, No. 12 has garnered?
A1: the Revolutionary Étude
Q2: What is the only piece Chopin gave an actual title to?
A2: Funeral March
Q3: The Funeral March was written as part of what piece?
A3: Sonata No. 2
Q4: How many instrumental works did Chopin give a descriptive name to?
A4: one
Q5: What descriptive name was Op. 10, No. 12 given?
A5: Revolutionary Étude
Q6: What descriptive name was Op. 64, No. 1 given?
A6: 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.

Q1: What was the last number Chopin gave to an opus?
A1: 65
Q2: Who was Chopin's musical executor?
A2: Julian Fontana
Q3: How many unfinished pieces did Julian Fontana make into eight more opus numbers?
A3: 23
Q4: Op. 74 is made up of how many Polish songs?
A4: 17
Q5: What is the last opus number that Chopin used?
A5: 65
Q6: Who grouped 23 unpublished pieces and published them as Opp. 66-73 in 1855?
A6: Julian Fontana
Q7: When was Op. 74 published?
A7: 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.

Q1: The Kobylańska Catalogue was named for who?
A1: Krystyna Kobylańska
Q2: Pieces published after what year stopped receiving opus numbers?
A2: 1857
Q3: What have pieces published after 1857 been given rather than opus numbers?
A3: alternative catalogue designations
Q4: What is the current musicologist reference for Chopin's pieces?
A4: the Kobylańska Catalogue
Q5: What is the shortened reference for the Kobylańska Catalogue?
A5: KK
Q6: Who compiled the Kobylańska Catalogue?
A6: 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.

Q1: Who released the first collection of Chopin's works?
A1: Breitkopf & Härtel
Q2: Who edited the Polish "National Edition" of Chopin's works?
A2: Jan Ekier
Q3: Maurice Schlesinger and Camille Pleyel were what to Chopin?
A3: original publishers
Q4: Where did Chopin's work start t oshow up?
A4: popular 19th-century piano anthologies.
Q5: What was the name under scholarly publications of Chopin's work form 1937 to 1966?
A5: Paderewski
Q6: Who edited the Polish National Edition?
A6: 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.

Q1: What is central to Chopin's process?
A1: Improvisation
Q2: Rosen suggests that a central part of Chopin's uniqueness is how he handles what?
A2: the four-bar phrase
Q3: What is central to Chopin's creativeness?
A3: Improvisation
Q4: Who wrote that "improvisation is designed for an audience"?
A4: Nicholas Temperley
Q5: What did Rosen suggest was important about chopin's personality?
A5: 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."

Q1: What piece does J. Barrie Jones pinpoint as a great example of Chopin's palette?
A1: the Barcarolle Op. 60
Q2: What does J. Barrie Jones feel stands supreme of Chopin's concert pieces?
A2: the four ballades and four scherzos
Q3: What form does Temperley feel that Chopin's ballades and scherzos are based on?
A3: 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.

Q1: Chopin's mazurkas contain more of what than his other compositions?
A1: folk features
Q2: What form are Chopin's mazurkas and waltzes in?
A2: straightforward ternary or episodic form, sometimes with a coda.
Q3: Which of Chopin's works shows more folk aspects?
A3: mazurkas
Q4: What type of bass do Chopin's mazurkas exhibit?
A4: drone bass
Q5: What does Chopin's Op. 63 No. 3 have that is rare?
A5: 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.

Q1: What time are Chopin's polonaises written in?
A1: triple time
Q2: Chopin's ability to create an advanced polonasises surpassed even two of his teachers, Zywny and who?
A2: Elsner
Q3: Chopin's polonaise often have what kind of rhythm in their melodies?
A3: martial
Q4: Chopin's polonaises needed what kind of playing technique?
A4: 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.

Q1: How many nocturnes did Chopin compose?
A1: 21
Q2: What is it about the middle of Chopin's nocturnes that increases their drama?
A2: agitated expression
Q3: Chopin's nocturnes were more structured than who?
A3: Field
Q4: What year did Chopin meet Field?
A4: 1833
Q5: Which type of Chopin's compositons were difficult for perfomers due to their middle sections?
A5: 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).

Q1: What pieces of his did Chopin use to teach his technique?
A1: études
Q2: What form are most of Chopin's études in?
A2: straightforward ternary
Q3: Chopin often taught his piano technique using what form of music he wrote?
A3: 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.

Q1: What piece of Bach's did Chopin take inspiration for his preludes?
A1: The Well-Tempered Clavier
Q2: Who suggested that Chopin's preludes were not intended to be played as a group?
A2: Kenneth Hamilton
Q3: What was described as "the beginning of studies" by Schumann?
A3: The preludes
Q4: What inspired Chopin for his preludes?
A4: J.S. Bach's The Well-Tempered Clavier
Q5: Kenneth Hamilton suggests that the preludes may not have been meant as a group but rather as what?
A5: generic preludes to others of his pieces
Q6: Who did a recording where Étude Op. 10 No. 5. follows relude Op. 28 No. 7?
A6: 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.

Q1: How many movements are No. 2, Op. 35 and No. 3, Op 58 in?
A1: four
Q2: What two people claimed that Op 58 was "worthy of Brahms"?
A2: Kornel Michałowski and Jim Samson
Q3: How many movements are in No. 2, Op. 35 and No. 3, Op 58?
A3: four
Q4: Which movement was found lacking in musicality by Schumann?
A4: The last movement
Q5: According to music historians, which sonata is similar to German tradition and worthy of Brahms?
A5: Op. 58
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.

Q1: Chopin's chord progressions are similar in style to what other composer?
A1: Claude Debussy
Q2: What likely arose due to Chopin's technique with keyboards?
A2: harmonic innovations
Q3: Who wrote about Chopin's "novel harmonic effects"?
A3: Temperley
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.

Q1: What was Chopin's style based upon?
A1: independent finger technique
Q2: Who wrote about a Chopin 1841 recital?
A2: Léon Escudier
Q3: What writing of Chopin talks about everything about piano playing has to do with proper fingering?
A3: his Projet de méthode
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.

Q1: According to J. Barrie Jones who was the only true successor to Chopin?
A1: Karol Szymanowski
Q2: Many people were considered influenced by Chopin's what?
A2: national modes and idioms
Q3: Who was Alexander Scriabin's teacher?
A3: Nikolai Zverev
Q4: Who was Chopin's worthy successor according to Jones?
A4: Karol Szymanowski
Q5: Who was devoted to the music of Chopin?
A5: Alexander Scriabin
Q6: Who was Alexander Scriabin's teacher?
A6: Nikolai Zverev
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."

Q1: Who wrote that the current large concert style conflicts with Chopin's preference of intimate performances?
A1: Jonathan Bellman
Q2: What did Chopin tend to avoid?
A2: rigid procedures
Q3: What has been falsely credited to Chopin?
A3: "always crescendo to a high note"
Q4: What did Chopin tell a student is given up in concerts?
A4: hearing in them all the most beautiful things of art
Q5: Who wrote about Chopin's "chromatic embroidery"?
A5: Berlioz
Q6: Who wrote that Chopin's music, when played by him, became a "colorful wreath of flowers"?
A6: Hiller
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."

Q1: Chopin's compositions are often played with what?
A1: rubato
Q2: What does rubato mean?
A2: the practice in performance of disregarding strict time
Q3: In Chopin's music where strict timing is disregarded, what is it called?
A3: rubato
Q4: What type of Chopin's music had the most disregard for strict timing according to Charles Rosen?
A4: mazurkas
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."

Q1: According to who did Chopin demand strictly sticking with rhythm?
A1: Friederike Müller
Q2: Which student said Chopin made sure his students knew his legato, cantabile style of playing?
A2: Friederike Müller
Q3: According to Friederike Müller, Chopin insisted his students have the strictest adherence to what?
A3: rhythm.