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SQuAD
In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin). Short (under five feet, or 152 cm), dark, big-eyed and a cigar smoker, she initially repelled Chopin, who remarked, "What an unattractive person la Sand is. Is she really a woman?" However, by early 1837 Maria Wodzińska's mother had made it clear to Chopin in correspondence that a marriage with her daughter was unlikely to proceed. It is thought that she was influenced by his poor health and possibly also by rumours about his associations with women such as d'Agoult and Sand. Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy". Sand, in a letter to Grzymała of June 1838, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymała to assess Chopin's relationship with Maria Wodzińska, without realising that the affair, at least from Maria's side, was over.
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4821a26c682a429ab0fab56917fee01e
Who did George Sand write to when admitting having a strong affection for Frédéric?
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{ "text": [ "Grzymała" ], "char_spans": [ { "start": [ 747 ], "end": [ 754 ] } ], "token_spans": [ { "start": [ 162 ], "end": [ 162 ] } ] }
[ "Grzymała" ]
SQuAD
In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin). Short (under five feet, or 152 cm), dark, big-eyed and a cigar smoker, she initially repelled Chopin, who remarked, "What an unattractive person la Sand is. Is she really a woman?" However, by early 1837 Maria Wodzińska's mother had made it clear to Chopin in correspondence that a marriage with her daughter was unlikely to proceed. It is thought that she was influenced by his poor health and possibly also by rumours about his associations with women such as d'Agoult and Sand. Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy". Sand, in a letter to Grzymała of June 1838, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymała to assess Chopin's relationship with Maria Wodzińska, without realising that the affair, at least from Maria's side, was over.
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2d8d4dd0c2784e538ea7ef009e88f386
What is the name of the author Chopin met at a gathering put on by Marie d'Agoult?
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{ "text": [ "George Sand" ], "char_spans": [ { "start": [ 75 ], "end": [ 85 ] } ], "token_spans": [ { "start": [ 16 ], "end": [ 17 ] } ] }
[ "George Sand" ]
SQuAD
In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin). Short (under five feet, or 152 cm), dark, big-eyed and a cigar smoker, she initially repelled Chopin, who remarked, "What an unattractive person la Sand is. Is she really a woman?" However, by early 1837 Maria Wodzińska's mother had made it clear to Chopin in correspondence that a marriage with her daughter was unlikely to proceed. It is thought that she was influenced by his poor health and possibly also by rumours about his associations with women such as d'Agoult and Sand. Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy". Sand, in a letter to Grzymała of June 1838, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymała to assess Chopin's relationship with Maria Wodzińska, without realising that the affair, at least from Maria's side, was over.
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d583da4884244a3a9cc212f0bd00b37f
What was a possible reason for Chopin's failed engagement to Maria Wodzińska?
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{ "text": [ "his poor health" ], "char_spans": [ { "start": [ 503 ], "end": [ 517 ] } ], "token_spans": [ { "start": [ 111 ], "end": [ 113 ] } ] }
[ "his poor health" ]
SQuAD
In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin). Short (under five feet, or 152 cm), dark, big-eyed and a cigar smoker, she initially repelled Chopin, who remarked, "What an unattractive person la Sand is. Is she really a woman?" However, by early 1837 Maria Wodzińska's mother had made it clear to Chopin in correspondence that a marriage with her daughter was unlikely to proceed. It is thought that she was influenced by his poor health and possibly also by rumours about his associations with women such as d'Agoult and Sand. Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy". Sand, in a letter to Grzymała of June 1838, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymała to assess Chopin's relationship with Maria Wodzińska, without realising that the affair, at least from Maria's side, was over.
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72c054fa22584d43a916c955dd0758db
What did Chopin write on the box of letters from Maria and her mother?
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{ "text": [ "My tragedy" ], "char_spans": [ { "start": [ 713 ], "end": [ 722 ] } ], "token_spans": [ { "start": [ 152 ], "end": [ 153 ] } ] }
[ "My tragedy" ]
SQuAD
In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin). Short (under five feet, or 152 cm), dark, big-eyed and a cigar smoker, she initially repelled Chopin, who remarked, "What an unattractive person la Sand is. Is she really a woman?" However, by early 1837 Maria Wodzińska's mother had made it clear to Chopin in correspondence that a marriage with her daughter was unlikely to proceed. It is thought that she was influenced by his poor health and possibly also by rumours about his associations with women such as d'Agoult and Sand. Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy". Sand, in a letter to Grzymała of June 1838, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymała to assess Chopin's relationship with Maria Wodzińska, without realising that the affair, at least from Maria's side, was over.
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1d81ec7d4e1e43358ae0ac7bea4b5cd4
Who hosted the party whre Chopin met George Sand?
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{ "text": [ "Marie d'Agoult" ], "char_spans": [ { "start": [ 30 ], "end": [ 43 ] } ], "token_spans": [ { "start": [ 8 ], "end": [ 9 ] } ] }
[ "Marie d'Agoult" ]
SQuAD
In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin). Short (under five feet, or 152 cm), dark, big-eyed and a cigar smoker, she initially repelled Chopin, who remarked, "What an unattractive person la Sand is. Is she really a woman?" However, by early 1837 Maria Wodzińska's mother had made it clear to Chopin in correspondence that a marriage with her daughter was unlikely to proceed. It is thought that she was influenced by his poor health and possibly also by rumours about his associations with women such as d'Agoult and Sand. Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy". Sand, in a letter to Grzymała of June 1838, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymała to assess Chopin's relationship with Maria Wodzińska, without realising that the affair, at least from Maria's side, was over.
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809e0949046741a1aaa06580cb57c3de
What year did Maria Wodzińska's mother tell Chopin that he likely would not marry her daughter?
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{ "text": [ "1837" ], "char_spans": [ { "start": [ 327 ], "end": [ 330 ] } ], "token_spans": [ { "start": [ 79 ], "end": [ 79 ] } ] }
[ "1837" ]
SQuAD
In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin). Short (under five feet, or 152 cm), dark, big-eyed and a cigar smoker, she initially repelled Chopin, who remarked, "What an unattractive person la Sand is. Is she really a woman?" However, by early 1837 Maria Wodzińska's mother had made it clear to Chopin in correspondence that a marriage with her daughter was unlikely to proceed. It is thought that she was influenced by his poor health and possibly also by rumours about his associations with women such as d'Agoult and Sand. Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy". Sand, in a letter to Grzymała of June 1838, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymała to assess Chopin's relationship with Maria Wodzińska, without realising that the affair, at least from Maria's side, was over.
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79628a692f0c4282be66e8a190679580
What did Chopin write on the package that contained letters from Maria and her mother?
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{ "text": [ "My tragedy" ], "char_spans": [ { "start": [ 713 ], "end": [ 722 ] } ], "token_spans": [ { "start": [ 152 ], "end": [ 153 ] } ] }
[ "My tragedy" ]
SQuAD
In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin). Short (under five feet, or 152 cm), dark, big-eyed and a cigar smoker, she initially repelled Chopin, who remarked, "What an unattractive person la Sand is. Is she really a woman?" However, by early 1837 Maria Wodzińska's mother had made it clear to Chopin in correspondence that a marriage with her daughter was unlikely to proceed. It is thought that she was influenced by his poor health and possibly also by rumours about his associations with women such as d'Agoult and Sand. Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy". Sand, in a letter to Grzymała of June 1838, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymała to assess Chopin's relationship with Maria Wodzińska, without realising that the affair, at least from Maria's side, was over.
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db0f10f4d09b4ec2802100263f31f425
Who did Sand confide to in a letter about her feelings for Chopin in June, 1838?
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{ "text": [ "Grzymała" ], "char_spans": [ { "start": [ 747 ], "end": [ 754 ] } ], "token_spans": [ { "start": [ 162 ], "end": [ 162 ] } ] }
[ "Grzymała" ]
SQuAD
Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also featured in works of Gottfried Benn and Boris Pasternak. There are numerous biographies of Chopin in English (see bibliography for some of these).
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036012fad0c24c859f19055793f04a51
An 1830 sonnet was written about Chopin by what man?
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{ "text": [ "Leon Ulrich" ], "char_spans": [ { "start": [ 205 ], "end": [ 215 ] } ], "token_spans": [ { "start": [ 34 ], "end": [ 35 ] } ] }
[ "Leon Ulrich" ]
SQuAD
Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also featured in works of Gottfried Benn and Boris Pasternak. There are numerous biographies of Chopin in English (see bibliography for some of these).
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8b0f34c86d4d48e69a62858532e35aa5
Aside from George Sands what two French authors have written about Chopin?
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{ "text": [ "Marcel Proust and André Gide" ], "char_spans": [ { "start": [ 275 ], "end": [ 302 ] } ], "token_spans": [ { "start": [ 48 ], "end": [ 52 ] } ] }
[ "Marcel Proust and André Gide" ]
SQuAD
Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also featured in works of Gottfried Benn and Boris Pasternak. There are numerous biographies of Chopin in English (see bibliography for some of these).
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efafac299b744ec198aeb9bc74d69288
Leon Ulrich wrote about Chopin in what format?
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{ "text": [ "sonnet" ], "char_spans": [ { "start": [ 185 ], "end": [ 190 ] } ], "token_spans": [ { "start": [ 30 ], "end": [ 30 ] } ] }
[ "sonnet" ]
SQuAD
Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also featured in works of Gottfried Benn and Boris Pasternak. There are numerous biographies of Chopin in English (see bibliography for some of these).
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931656b5df2a41e78d93432c3e510be6
What is the earliest sighting of Chopin in Polish Literature?
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{ "text": [ "sonnet on Chopin by Leon Ulrich" ], "char_spans": [ { "start": [ 185 ], "end": [ 215 ] } ], "token_spans": [ { "start": [ 30 ], "end": [ 35 ] } ] }
[ "sonnet on Chopin by Leon Ulrich" ]
SQuAD
Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also featured in works of Gottfried Benn and Boris Pasternak. There are numerous biographies of Chopin in English (see bibliography for some of these).
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b9c6bd37e96f4b518b06f3a2eb76e11a
When did Ulrich do his sonnet on Chopin?
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{ "text": [ "1830" ], "char_spans": [ { "start": [ 180 ], "end": [ 183 ] } ], "token_spans": [ { "start": [ 29 ], "end": [ 29 ] } ] }
[ "1830" ]
SQuAD
Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also featured in works of Gottfried Benn and Boris Pasternak. There are numerous biographies of Chopin in English (see bibliography for some of these).
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70000d96e94c411dbf4a7ec2a465de09
In addition to Polish and French, what other language has numerous biogrpahies of Chopin?
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[ "English" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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03228f07b1434f7a839d0c516619f892
Of the individuals that became intimate with Frédéric during their stay at the family apartments, which two became part of Frédéric's social environment in Paris?
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{ "text": [ "Jan Matuszyński and Julian Fontana" ], "char_spans": [ { "start": [ 116 ], "end": [ 149 ] } ], "token_spans": [ { "start": [ 19 ], "end": [ 23 ] } ] }
[ "Jan Matuszyński and Julian Fontana" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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459590e7a026496696561e1c00b89733
Which singer was cited specifically as someone Frédéric was attracted to?
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{ "text": [ "Konstancja Gładkowska" ], "char_spans": [ { "start": [ 392 ], "end": [ 412 ] } ], "token_spans": [ { "start": [ 68 ], "end": [ 69 ] } ] }
[ "Konstancja Gładkowska" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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1b09dc79480c48fc909d7c60a3313e17
What four boys from his family's boarding house became friends with Chopin?
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{ "text": [ "Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana" ], "char_spans": [ { "start": [ 68 ], "end": [ 149 ] } ], "token_spans": [ { "start": [ 12 ], "end": [ 23 ] } ] }
[ "Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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64f2173d21d74a9e95b934cad689a433
Which singer did Chopin become fascinated with?
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{ "text": [ "Konstancja Gładkowska" ], "char_spans": [ { "start": [ 392 ], "end": [ 412 ] } ], "token_spans": [ { "start": [ 68 ], "end": [ 69 ] } ] }
[ "Konstancja Gładkowska" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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45dc3cf2503b4acdab74a601b8acc6ec
Which of Chopin's works was unknowingly dedicated to Gladkowska?
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{ "text": [ "Piano Concerto No. 1 (in E minor)" ], "char_spans": [ { "start": [ 633 ], "end": [ 665 ] } ], "token_spans": [ { "start": [ 114 ], "end": [ 123 ] } ] }
[ "Piano Concerto No. 1 (in E minor)" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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accf7755549a465699729753dbe3f1fd
When did Chopin receive his last Conservatory report?
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{ "text": [ "July 1829" ], "char_spans": [ { "start": [ 799 ], "end": [ 807 ] } ], "token_spans": [ { "start": [ 149 ], "end": [ 150 ] } ] }
[ "July 1829" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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cead01550e4244ddb8e3796e8a03e099
Which two of Chopin's friends became part of his Paris milieu?
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{ "text": [ "Jan Matuszyński and Julian Fontana" ], "char_spans": [ { "start": [ 116 ], "end": [ 149 ] } ], "token_spans": [ { "start": [ 19 ], "end": [ 23 ] } ] }
[ "Jan Matuszyński and Julian Fontana" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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c82c68b38dc5497ebae7b6e2d91be502
What was the name of the singing student Chopin was attracted to?
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{ "text": [ "Konstancja Gładkowska" ], "char_spans": [ { "start": [ 392 ], "end": [ 412 ] } ], "token_spans": [ { "start": [ 68 ], "end": [ 69 ] } ] }
[ "Konstancja Gładkowska" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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bf1b045f35214a66aed7d34ec999ad95
To whom did Chopin reveal in letters which parts of his work were about the singing student he was infatuated with?
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{ "text": [ "Tytus Woyciechowski" ], "char_spans": [ { "start": [ 68 ], "end": [ 86 ] } ], "token_spans": [ { "start": [ 12 ], "end": [ 13 ] } ] }
[ "Tytus Woyciechowski" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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b99297686b774ab9a5b93ede8366799c
What musical piece had a Larghetto dedicated to the female singing student Chopin was infatuated with?
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{ "text": [ "Piano Concerto No. 1 (in E minor)" ], "char_spans": [ { "start": [ 633 ], "end": [ 665 ] } ], "token_spans": [ { "start": [ 114 ], "end": [ 123 ] } ] }
[ "Piano Concerto No. 1 (in E minor)" ]
SQuAD
Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
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cf6bcc9d26a045939a518cfd31e69741
How many boarders of his family's boarding house became intimate friends with Chopin?
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[ "Four" ]
SQuAD
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.
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ace97fe1ff6846509080da93b992382c
What year was the earliest Chopin recording created?
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[ "1895" ]
SQuAD
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.
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What is the title of the earliest known recording of Chopin's work?
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{ "text": [ "Nocturne in E major Op. 62 No. 2" ], "char_spans": [ { "start": [ 183 ], "end": [ 214 ] } ], "token_spans": [ { "start": [ 35 ], "end": [ 44 ] } ] }
[ "Nocturne in E major Op. 62 No. 2" ]
SQuAD
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.
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98a345573bc545458388cf9c3a9ea278
Who played the earlier known recording of Chopin's work?
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[ "Paul Pabst" ]
SQuAD
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.
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652ec54526a64d4b80f5fb147b748de4
What has stated that every pianist in the recording era has used Chopin's music?
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[ "The British Library" ]
SQuAD
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.
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51faece786b84b36ba6838ad00b3cec9
When did Pabst record his Chopin performance?
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[ "1895" ]
SQuAD
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.
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Who has given a discography of pianists' representation of Chopin's pedagogic style?
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[ "Methuen-Campbell" ]
SQuAD
During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:
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What is the example given of a work produced by Frédéric during calm summers at Nohant?
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{ "text": [ "Polonaise in A-flat major, Op. 53" ], "char_spans": [ { "start": [ 152 ], "end": [ 184 ] } ], "token_spans": [ { "start": [ 27 ], "end": [ 36 ] } ] }
[ "Polonaise in A-flat major, Op. 53" ]
SQuAD
During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:
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Which of the two people that visited Chopin were tutored by him on piano?
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{ "text": [ "Pauline Viardot" ], "char_spans": [ { "start": [ 253 ], "end": [ 267 ] } ], "token_spans": [ { "start": [ 50 ], "end": [ 51 ] } ] }
[ "Pauline Viardot" ]
SQuAD
During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:
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On what date did Delacroix write a letter based on his visit at Nohant?
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{ "text": [ "7 June 1842" ], "char_spans": [ { "start": [ 393 ], "end": [ 403 ] } ], "token_spans": [ { "start": [ 75 ], "end": [ 77 ] } ] }
[ "7 June 1842" ]
SQuAD
During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:
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What did Chopin help Pauline Viardot with?
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{ "text": [ "piano technique and composition" ], "char_spans": [ { "start": [ 297 ], "end": [ 327 ] } ], "token_spans": [ { "start": [ 58 ], "end": [ 61 ] } ] }
[ "piano technique and composition" ]
SQuAD
During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:
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Who were two visitors to Chopin while in Nohant?
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[ "Delacroix and the mezzo-soprano Pauline Viardot" ]
SQuAD
During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:
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What two things did Chopin advise Viardot on?
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{ "text": [ "piano technique and composition." ], "char_spans": [ { "start": [ 297 ], "end": [ 328 ] } ], "token_spans": [ { "start": [ 58 ], "end": [ 62 ] } ] }
[ "piano technique and composition." ]
SQuAD
During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:
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Who wrote a letter on June 7, 1842 about a stay in Nohant?
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{ "text": [ "Delacroix" ], "char_spans": [ { "start": [ 221 ], "end": [ 229 ] } ], "token_spans": [ { "start": [ 44 ], "end": [ 44 ] } ] }
[ "Delacroix" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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What is stated as having a negative effect on Frédéric's health during this productive time?
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{ "text": [ "bad weather" ], "char_spans": [ { "start": [ 46 ], "end": [ 56 ] } ], "token_spans": [ { "start": [ 8 ], "end": [ 9 ] } ] }
[ "bad weather" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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d3b47176d531464c9970143be2cba3e9
What city did the group travel to in order to help Frédéric recover?
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{ "text": [ "Marseilles" ], "char_spans": [ { "start": [ 292 ], "end": [ 301 ] } ], "token_spans": [ { "start": [ 56 ], "end": [ 56 ] } ] }
[ "Marseilles" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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435b6bb67b0c46149bb6d0019de0d6fd
Where was Sand's estate located where they stayed for the summers until 1846?
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{ "text": [ "Nohant" ], "char_spans": [ { "start": [ 424 ], "end": [ 429 ] } ], "token_spans": [ { "start": [ 82 ], "end": [ 82 ] } ] }
[ "Nohant" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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9e52d1a8c0eb4a34b71000cd9164b0da
Where did Frédéric and Sand move to in 1842 in buildings next to each other?
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{ "text": [ "Square d'Orléans" ], "char_spans": [ { "start": [ 726 ], "end": [ 741 ] } ], "token_spans": [ { "start": [ 141 ], "end": [ 142 ] } ] }
[ "Square d'Orléans" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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dac2dde916e8473fb1a775c698db1c47
Where did the group travel to after Barcelona?
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{ "text": [ "Marseilles" ], "char_spans": [ { "start": [ 292 ], "end": [ 301 ] } ], "token_spans": [ { "start": [ 56 ], "end": [ 56 ] } ] }
[ "Marseilles" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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4841bd2712e8411aa20e6e7a8b311546
Where was Sand's home?
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[ "Nohant" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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eab11fd602b24ff7816495cd3599cc03
After returning to Paris where was Chopin's apartment?
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{ "text": [ "5 rue Tronchet" ], "char_spans": [ { "start": [ 536 ], "end": [ 549 ] } ], "token_spans": [ { "start": [ 104 ], "end": [ 106 ] } ] }
[ "5 rue Tronchet" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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e873314d5613449c93c5c87ef03ab411
In 1842 where did Chopin and Sand move?
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{ "text": [ "Square d'Orléans" ], "char_spans": [ { "start": [ 726 ], "end": [ 741 ] } ], "token_spans": [ { "start": [ 141 ], "end": [ 142 ] } ] }
[ "Square d'Orléans" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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a80927eb141648d598346f42daa0cfc0
What had a negative effect on Chopin's health?
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{ "text": [ "the bad weather" ], "char_spans": [ { "start": [ 42 ], "end": [ 56 ] } ], "token_spans": [ { "start": [ 7 ], "end": [ 9 ] } ] }
[ "the bad weather" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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a02100c8f39945beaf4b7a74b18110b0
Where did they travel after leaving Barcelona?
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{ "text": [ "Marseilles" ], "char_spans": [ { "start": [ 292 ], "end": [ 301 ] } ], "token_spans": [ { "start": [ 56 ], "end": [ 56 ] } ] }
[ "Marseilles" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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a9af39c0691449c1b37be7203fdf65d0
Where did Chopin and Sand move to in 1842?
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{ "text": [ "Square d'Orléans" ], "char_spans": [ { "start": [ 726 ], "end": [ 741 ] } ], "token_spans": [ { "start": [ 141 ], "end": [ 142 ] } ] }
[ "Square d'Orléans" ]
SQuAD
Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.
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ea6085f5035d42d398c10bad675ba9ea
Where did they spend most summers until 1846?
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{ "text": [ "Nohant" ], "char_spans": [ { "start": [ 424 ], "end": [ 429 ] } ], "token_spans": [ { "start": [ 82 ], "end": [ 82 ] } ] }
[ "Nohant" ]
SQuAD
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.
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5428229289bf4a10ada4adf49f567fd7
What is another title Op. 10, No. 12 has garnered?
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{ "text": [ "the Revolutionary Étude" ], "char_spans": [ { "start": [ 77 ], "end": [ 99 ] } ], "token_spans": [ { "start": [ 15 ], "end": [ 17 ] } ] }
[ "the Revolutionary Étude" ]
SQuAD
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.
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0c93aa89be4a4d7c95e07411e654dc8b
What is the only piece Chopin gave an actual title to?
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{ "text": [ "Funeral March" ], "char_spans": [ { "start": [ 192 ], "end": [ 204 ] } ], "token_spans": [ { "start": [ 49 ], "end": [ 50 ] } ] }
[ "Funeral March" ]
SQuAD
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.
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f3db28f4f59f4933874435fa0ac7b0a5
The Funeral March was written as part of what piece?
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{ "text": [ "Sonata No. 2" ], "char_spans": [ { "start": [ 623 ], "end": [ 634 ] } ], "token_spans": [ { "start": [ 126 ], "end": [ 129 ] } ] }
[ "Sonata No. 2" ]
SQuAD
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.
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17a8dda28cdb401f8dc8c9b6ee625d21
How many instrumental works did Chopin give a descriptive name to?
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{ "text": [ "one" ], "char_spans": [ { "start": [ 650 ], "end": [ 652 ] } ], "token_spans": [ { "start": [ 137 ], "end": [ 137 ] } ] }
[ "one" ]
SQuAD
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.
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3cc2be551373445baa8d641488a7224c
What descriptive name was Op. 10, No. 12 given?
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{ "text": [ "Revolutionary Étude" ], "char_spans": [ { "start": [ 81 ], "end": [ 99 ] } ], "token_spans": [ { "start": [ 16 ], "end": [ 17 ] } ] }
[ "Revolutionary Étude" ]
SQuAD
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.
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2c228615b7ea44aab1dfe3220a8178ae
What descriptive name was Op. 64, No. 1 given?
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{ "text": [ "Minute Waltz" ], "char_spans": [ { "start": [ 127 ], "end": [ 138 ] } ], "token_spans": [ { "start": [ 30 ], "end": [ 31 ] } ] }
[ "Minute Waltz" ]
SQuAD
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.
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0efe09cf1c6e4a2c88b45a2faf63f62d
Who did Chopin play for while she sang?
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{ "text": [ "Delfina Potocka" ], "char_spans": [ { "start": [ 241 ], "end": [ 255 ] } ], "token_spans": [ { "start": [ 43 ], "end": [ 44 ] } ] }
[ "Delfina Potocka" ]
SQuAD
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.
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29dac4a9450041e5bc8dd490b5306bbc
In 1849 where did Chopin live?
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{ "text": [ "Chaillot" ], "char_spans": [ { "start": [ 340 ], "end": [ 347 ] } ], "token_spans": [ { "start": [ 63 ], "end": [ 63 ] } ] }
[ "Chaillot" ]
SQuAD
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.
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7c15a7392a1245d3bd21db96dbcb7d7d
Who was anonymously paying for Chopin's apartment?
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{ "text": [ "Princess Obreskoff" ], "char_spans": [ { "start": [ 439 ], "end": [ 456 ] } ], "token_spans": [ { "start": [ 84 ], "end": [ 85 ] } ] }
[ "Princess Obreskoff" ]
SQuAD
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.
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7125b4fa095f46998da8c575d78b83d7
When did Chopin return to Paris?
{ "tokens": [ "When", "did", "Chopin", "return", "to", "Paris", "?" ], "offsets": [ 0, 5, 9, 16, 23, 26, 31 ] }
{ "text": [ "November" ], "char_spans": [ { "start": [ 14 ], "end": [ 21 ] } ], "token_spans": [ { "start": [ 4 ], "end": [ 4 ] } ] }
[ "November" ]
SQuAD
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.
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c338dcbe72aa42c7ba05b6a7ff24e3a7
Chopin accompanied which singer for friends?
{ "tokens": [ "Chopin", "accompanied", "which", "singer", "for", "friends", "?" ], "offsets": [ 0, 7, 19, 25, 32, 36, 43 ] }
{ "text": [ "Delfina Potocka" ], "char_spans": [ { "start": [ 241 ], "end": [ 255 ] } ], "token_spans": [ { "start": [ 43 ], "end": [ 44 ] } ] }
[ "Delfina Potocka" ]
SQuAD
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.
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202a79e0f2e84032bd9bb351985ca155
Where did his friends found Chopin an apartment in 1849?
{ "tokens": [ "Where", "did", "his", "friends", "found", "Chopin", "an", "apartment", "in", "1849", "?" ], "offsets": [ 0, 6, 10, 14, 22, 28, 35, 38, 48, 51, 55 ] }
{ "text": [ "Chaillot" ], "char_spans": [ { "start": [ 340 ], "end": [ 347 ] } ], "token_spans": [ { "start": [ 63 ], "end": [ 63 ] } ] }
[ "Chaillot" ]
SQuAD
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.
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79848a7bb2c1488d98beed529d11c2ea
Who paid for Chopin's apartment in Chaillot?
{ "tokens": [ "Who", "paid", "for", "Chopin", "'s", "apartment", "in", "Chaillot", "?" ], "offsets": [ 0, 4, 9, 13, 19, 22, 32, 35, 43 ] }
{ "text": [ "Princess Obreskoff." ], "char_spans": [ { "start": [ 439 ], "end": [ 457 ] } ], "token_spans": [ { "start": [ 84 ], "end": [ 86 ] } ] }
[ "Princess Obreskoff." ]
SQuAD
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.
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86ceb716ab13485695cab969e89a322b
When did Jenny Lind visit Chopin?
{ "tokens": [ "When", "did", "Jenny", "Lind", "visit", "Chopin", "?" ], "offsets": [ 0, 5, 9, 15, 20, 26, 32 ] }
{ "text": [ "June 1849" ], "char_spans": [ { "start": [ 467 ], "end": [ 475 ] } ], "token_spans": [ { "start": [ 89 ], "end": [ 90 ] } ] }
[ "June 1849" ]
SQuAD
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."
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d7c20b4c212b4d30871d55bf596528a2
When did his sister come to stay with Chopin?
{ "tokens": [ "When", "did", "his", "sister", "come", "to", "stay", "with", "Chopin", "?" ], "offsets": [ 0, 5, 9, 13, 20, 25, 28, 33, 38, 44 ] }
{ "text": [ "June 1849" ], "char_spans": [ { "start": [ 91 ], "end": [ 99 ] } ], "token_spans": [ { "start": [ 17 ], "end": [ 18 ] } ] }
[ "June 1849" ]
SQuAD
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."
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4a1ad16bda004569a10cb66091ffc285
In September 1849 where did Chopin take up residence?
{ "tokens": [ "In", "September", "1849", "where", "did", "Chopin", "take", "up", "residence", "?" ], "offsets": [ 0, 3, 13, 18, 24, 28, 35, 40, 43, 52 ] }
{ "text": [ "Place Vendôme 12" ], "char_spans": [ { "start": [ 247 ], "end": [ 262 ] } ], "token_spans": [ { "start": [ 48 ], "end": [ 50 ] } ] }
[ "Place Vendôme 12" ]
SQuAD
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."
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cc41821179f44ce6ba32820379464e1d
Which family member came to Paris in June 1849?
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{ "text": [ "his sister" ], "char_spans": [ { "start": [ 101 ], "end": [ 110 ] } ], "token_spans": [ { "start": [ 19 ], "end": [ 20 ] } ] }
[ "his sister" ]
SQuAD
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."
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c7022267aeb349a1a9fa52b3802ad933
Who accompanied Chopin's sister to Paris?
{ "tokens": [ "Who", "accompanied", "Chopin", "'s", "sister", "to", "Paris", "?" ], "offsets": [ 0, 4, 16, 22, 25, 32, 35, 40 ] }
{ "text": [ "her husband and daughter" ], "char_spans": [ { "start": [ 139 ], "end": [ 162 ] } ], "token_spans": [ { "start": [ 26 ], "end": [ 29 ] } ] }
[ "her husband and daughter" ]
SQuAD
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."
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f890362578f54f73aba36a64c82a09f5
Who gave Chopin a loan in September for an apartment?
{ "tokens": [ "Who", "gave", "Chopin", "a", "loan", "in", "September", "for", "an", "apartment", "?" ], "offsets": [ 0, 4, 9, 16, 18, 23, 26, 36, 40, 43, 52 ] }
{ "text": [ "Jane Stirling" ], "char_spans": [ { "start": [ 208 ], "end": [ 220 ] } ], "token_spans": [ { "start": [ 40 ], "end": [ 41 ] } ] }
[ "Jane Stirling" ]
SQuAD
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."
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5d3577e9e34b4317b46ac9d0d16ffcb5
What did Parisian ladies consider proper etiquette when in Chopin's room?
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[ "to faint" ]
SQuAD
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).
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bf83d91894d34525911d969fe84d6bcf
What pieces of his did Chopin use to teach his technique?
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{ "text": [ "études" ], "char_spans": [ { "start": [ 9 ], "end": [ 14 ] } ], "token_spans": [ { "start": [ 2 ], "end": [ 2 ] } ] }
[ "études" ]
SQuAD
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).
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What form are most of Chopin's études in?
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[ "straightforward ternary" ]
SQuAD
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).
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e8d025ce399a42e2afb7d40002f9703f
Chopin often taught his piano technique using what form of music he wrote?
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[ "études" ]
SQuAD
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.
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60e253e9ba194f7bbe7f50ad797c620b
What was Frédéric's favorite environment to perform in?
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{ "text": [ "his own Paris apartment for small groups of friends" ], "char_spans": [ { "start": [ 218 ], "end": [ 268 ] } ], "token_spans": [ { "start": [ 40 ], "end": [ 48 ] } ] }
[ "his own Paris apartment for small groups of friends" ]
SQuAD
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.
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What instrument did Frédéric play in a performance on 23 March 1833?
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[ "pianos" ]
SQuAD
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.
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6f61eda9bfbe4e9d88f2e61871a8ae24
Chopin gave a yearly performance where?
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{ "text": [ "Salle Pleyel" ], "char_spans": [ { "start": [ 107 ], "end": [ 118 ] } ], "token_spans": [ { "start": [ 19 ], "end": [ 20 ] } ] }
[ "Salle Pleyel" ]
SQuAD
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.
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e9a7f5f3ef3f4324aaacb7e5e670f7e6
Chopin worked with Liszt on what piece?
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{ "text": [ "Hexameron" ], "char_spans": [ { "start": [ 1080 ], "end": [ 1088 ] } ], "token_spans": [ { "start": [ 207 ], "end": [ 207 ] } ] }
[ "Hexameron" ]
SQuAD
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.
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10e605c5b7e64a038411745297958a88
In 1833 with whom with Chopin work to get his music published?
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{ "text": [ "Maurice Schlesinger" ], "char_spans": [ { "start": [ 1234 ], "end": [ 1252 ] } ], "token_spans": [ { "start": [ 238 ], "end": [ 239 ] } ] }
[ "Maurice Schlesinger" ]
SQuAD
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.
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887018c1d76640a59fd0de4608e1797f
What is the name of Chopin's pupil who performed with him?
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{ "text": [ "Adolphe Gutmann" ], "char_spans": [ { "start": [ 850 ], "end": [ 864 ] } ], "token_spans": [ { "start": [ 165 ], "end": [ 166 ] } ] }
[ "Adolphe Gutmann" ]
SQuAD
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.
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b6544ce21c2f4a6d89535ead63ad50a5
Where did Chopin prefer to play for people?
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[ "apartment" ]
SQuAD
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.
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288822b59a434f41b4586f7bd5391c9e
On March 23, 1833, who headlined and performed with Chopin at a concert?
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[ "Liszt and Hiller" ]
SQuAD
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.
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cee46304093f471dacc41a15c11510a1
Who did Chopin contract with for publishing his music?
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{ "text": [ "Maurice Schlesinger" ], "char_spans": [ { "start": [ 1234 ], "end": [ 1252 ] } ], "token_spans": [ { "start": [ 238 ], "end": [ 239 ] } ] }
[ "Maurice Schlesinger" ]
SQuAD
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.
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28aa246a206347f1b5124dc10797073e
How many of Chopin's works still exist?
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{ "text": [ "Over 230" ], "char_spans": [ { "start": [ 0 ], "end": [ 7 ] } ], "token_spans": [ { "start": [ 0 ], "end": [ 1 ] } ] }
[ "Over 230" ]
SQuAD
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.
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17bf6716b8754c2981db5b3f20c1b977
All of his pieces include what instrument?
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{ "text": [ "piano" ], "char_spans": [ { "start": [ 121 ], "end": [ 125 ] } ], "token_spans": [ { "start": [ 22 ], "end": [ 22 ] } ] }
[ "piano" ]
SQuAD
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.
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951c2840aea645fe82245899a1d2c542
How many Chopin pieces are known to have survived?
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[ "Over 230" ]
SQuAD
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.
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7a57f5a2eadd4705a9af7ea616d48f77
Only a few of Chopin's pieces involve more than the piano, including piano concertos, songs and what?
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[ "chamber music." ]
SQuAD
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.
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0089da4fe0064735813867fbee3190a6
Who gave Frédéric his first significant public approval in regards to his compositions?
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{ "text": [ "Robert Schumann" ], "char_spans": [ { "start": [ 102 ], "end": [ 116 ] } ], "token_spans": [ { "start": [ 17 ], "end": [ 18 ] } ] }
[ "Robert Schumann" ]
SQuAD
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.
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80706322d52b473e81f227941fdb3247
On what date did Frédéric give his first performance at the Salle Pleyel?
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{ "text": [ "26 February 1832" ], "char_spans": [ { "start": [ 275 ], "end": [ 290 ] } ], "token_spans": [ { "start": [ 53 ], "end": [ 55 ] } ] }
[ "26 February 1832" ]
SQuAD
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.
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a5070f550fd04f44ba23836408c0e1b7
What is stated as a hindrance for Frédéric's ability to perform in large concert spaces?
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{ "text": [ "intimate keyboard technique" ], "char_spans": [ { "start": [ 683 ], "end": [ 709 ] } ], "token_spans": [ { "start": [ 134 ], "end": [ 136 ] } ] }
[ "intimate keyboard technique" ]
SQuAD
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.
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a636ad48bd3e440490645a3c219f771b
Who did Frédéric rely upon financially before earning a great income from his works?
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{ "text": [ "his father" ], "char_spans": [ { "start": [ 1166 ], "end": [ 1175 ] } ], "token_spans": [ { "start": [ 220 ], "end": [ 221 ] } ] }
[ "his father" ]
SQuAD
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.
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a00be1c628e34faa911d7bd984b39ed7
From whom did Chopin receive his first big endorsement?
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{ "text": [ "Robert Schumann" ], "char_spans": [ { "start": [ 102 ], "end": [ 116 ] } ], "token_spans": [ { "start": [ 17 ], "end": [ 18 ] } ] }
[ "Robert Schumann" ]
SQuAD
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.
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7c54cb14ed0e4fb6888364ec1430ab76
When did Chopin debut at Salle Pleyel ?
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{ "text": [ "26 February 1832" ], "char_spans": [ { "start": [ 275 ], "end": [ 290 ] } ], "token_spans": [ { "start": [ 53 ], "end": [ 55 ] } ] }
[ "26 February 1832" ]
SQuAD
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.
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0055be793e1b45ed8d660664bef6aabd
What affluent family did Chopin gain a patronage from?
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{ "text": [ "Rothschild" ], "char_spans": [ { "start": [ 802 ], "end": [ 811 ] } ], "token_spans": [ { "start": [ 154 ], "end": [ 154 ] } ] }
[ "Rothschild" ]
SQuAD
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.
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77762b0c03af47f789d66ed8f3bee228
When did Chopin receive his first major endorsement from Robert Schumann?
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{ "text": [ "1831" ], "char_spans": [ { "start": [ 14 ], "end": [ 17 ] } ], "token_spans": [ { "start": [ 4 ], "end": [ 4 ] } ] }
[ "1831" ]
SQuAD
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.
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eb57102266144c809e8e5d6e2a816177
What did Chopin realize was not ideal for larger spaces after his first successful concert in Paris?
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[ "keyboard technique" ]
SQuAD
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op. 2 Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On 26 February 1832 Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration. The critic François-Joseph Fétis wrote in the Revue et gazette musicale: "Here is a young man who ... taking no model, has found, if not a complete renewal of piano music, ... an abundance of original ideas of a kind to be found nowhere else ..." After this concert, Chopin realized that his essentially intimate keyboard technique was not optimal for large concert spaces. Later that year he was introduced to the wealthy Rothschild banking family, whose patronage also opened doors for him to other private salons (social gatherings of the aristocracy and artistic and literary elite). By the end of 1832 Chopin had established himself among the Parisian musical elite, and had earned the respect of his peers such as Hiller, Liszt, and Berlioz. He no longer depended financially upon his father, and in the winter of 1832 he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe. This freed him from the strains of public concert-giving, which he disliked.
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348b6bf5411442c78c01d18c8582244c
Once Chopin stopped performing concerts, how did he earn his income?
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[ "publishing his works and teaching piano to affluent students" ]
SQuAD
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.
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c49bfab6b0c44938862acd727633ac86
Where did Jane Stirling invite Chopin?
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[ "Scotland" ]
SQuAD
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.
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63e07ea331fb40c99942872397d02f86
What doctor was with Chopin when he wrote out his will?
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[ "Adam Łyszczyński" ]
SQuAD
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.
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190dd77c2cdb4df5a6fa03cf13025126
Where was Chopin invited to in late summer?
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[ "Scotland" ]
SQuAD
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.
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76bf242d36b64f09b979bcaa0378dede
What city did Chopin perform at on September 27?
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{ "text": [ "Glasgow" ], "char_spans": [ { "start": [ 554 ], "end": [ 560 ] } ], "token_spans": [ { "start": [ 114 ], "end": [ 114 ] } ] }
[ "Glasgow" ]