Question: What culture's arrival in the country where the person who paid for Chopin's funeral invited him is know as the "Davidian Revolution?

<P0-S0> Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. <P0-S1> 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. <P0-S2> Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850. <P0-S3> [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. <SEP> <P1-S0> Normans came into Scotland, building castles and founding noble families who would provide some future kings, such as Robert the Bruce, as well as founding a considerable number of the Scottish clans. <P1-S1> King David I of Scotland, whose elder brother Alexander I had married Sybilla of Normandy, was instrumental in introducing Normans and Norman culture to Scotland, part of the process some scholars call the "Davidian Revolution". <P1-S2> Having spent time at the court of Henry I of England (married to David's sister Maud of Scotland), and needing them to wrestle the kingdom from his half-brother Máel Coluim mac Alaxandair, David had to reward many with lands. <P1-S3> The process was continued under David's successors, most intensely of all under William the Lion. <P1-S4> The Norman-derived feudal system was applied in varying degrees to most of Scotland. <P1-S5> Scottish families of the names Bruce, Gray, Ramsay, Fraser, Ogilvie, Montgomery, Sinclair, Pollock, Burnard, Douglas and Gordon to name but a few, and including the later royal House of Stewart, can all be traced back to Norman ancestry. <SEP> <P2-S0> 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. <P2-S1> 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. <P2-S2> 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." <P2-S3> 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. <P2-S4> 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. <SEP> <P3-S0> 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. <P3-S1> 4 in e minor and no. <P3-S2> 6 in b minor were also played. <P3-S3> the organist at the funeral was louis lefébure-wély. <P3-S4> the funeral procession to père lachaise cemetery, which included chopin's sister ludwika, was led by the aged prince adam czartoryski. <P3-S5> the pallbearers included delacroix, franchomme, and camille pleyel. <P3-S6> at the graveside, the funeral march from chopin's piano sonata no. <P3-S7> 2 was played, in reber's instrumentation. <SEP> <P4-S0> 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." <P4-S1> 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. <P4-S2> 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.