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56d3171959d6e4140014622c
|
Frédéric_Chopin
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy. Later that month, in Warsaw, the November 1830 Uprising broke out, and Woyciechowski returned to Poland to enlist. Chopin, now alone in Vienna, was nostalgic for his homeland, and wrote to a friend, "I curse the moment of my departure." When in September 1831 he learned, while travelling from Vienna to Paris, that the uprising had been crushed, he expressed his anguish in the pages of his private journal: "Oh God! ... You are there, and yet you do not take vengeance!" Jachimecki ascribes to these events the composer's maturing "into an inspired national bard who intuited the past, present and future of his native Poland."
|
What geographicla region was opened for Chopin due to his composing and performances?
|
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"text": [
"western Europe"
]
}
|
context-5_15_0.mp3
|
context-5_15.mp3
| 22,050 |
Joanna
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy.
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on two November eighteen thirty, he set out, in the words of Zdzislaw Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy.
|
question-5_15_8.mp3
| 22,050 |
Kendra
|
What geographicla region was opened for Chopin due to his composing and performances?
|
56d3171959d6e4140014622d
|
Frédéric_Chopin
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy. Later that month, in Warsaw, the November 1830 Uprising broke out, and Woyciechowski returned to Poland to enlist. Chopin, now alone in Vienna, was nostalgic for his homeland, and wrote to a friend, "I curse the moment of my departure." When in September 1831 he learned, while travelling from Vienna to Paris, that the uprising had been crushed, he expressed his anguish in the pages of his private journal: "Oh God! ... You are there, and yet you do not take vengeance!" Jachimecki ascribes to these events the composer's maturing "into an inspired national bard who intuited the past, present and future of his native Poland."
|
When Chopin started to take his music to the world, what is the last name of the person who went with him to Austria?
|
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4.9
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15.58
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14.59
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"text": [
"Woyciechowski"
]
}
|
context-5_15_0.mp3
|
context-5_15.mp3
| 22,050 |
Joanna
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy.
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on two November eighteen thirty, he set out, in the words of Zdzislaw Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy.
|
question-5_15_9.mp3
| 22,050 |
Olivia
|
When Chopin started to take his music to the world, what is the last name of the person who went with him to Austria?
|
56d3171959d6e4140014622e
|
Frédéric_Chopin
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy. Later that month, in Warsaw, the November 1830 Uprising broke out, and Woyciechowski returned to Poland to enlist. Chopin, now alone in Vienna, was nostalgic for his homeland, and wrote to a friend, "I curse the moment of my departure." When in September 1831 he learned, while travelling from Vienna to Paris, that the uprising had been crushed, he expressed his anguish in the pages of his private journal: "Oh God! ... You are there, and yet you do not take vengeance!" Jachimecki ascribes to these events the composer's maturing "into an inspired national bard who intuited the past, present and future of his native Poland."
|
What year did the uprising begin in Warsaw?
|
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2.63,
8.5
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6.73
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5.91
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"text": [
"1830"
]
}
|
context-5_15_0.mp3
|
context-5_15.mp3
| 22,050 |
Joanna
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy.
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on two November eighteen thirty, he set out, in the words of Zdzislaw Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy.
|
question-5_15_10.mp3
| 22,050 |
Justin
|
What year did the uprising begin in Warsaw?
|
56d3171959d6e4140014622f
|
Frédéric_Chopin
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy. Later that month, in Warsaw, the November 1830 Uprising broke out, and Woyciechowski returned to Poland to enlist. Chopin, now alone in Vienna, was nostalgic for his homeland, and wrote to a friend, "I curse the moment of my departure." When in September 1831 he learned, while travelling from Vienna to Paris, that the uprising had been crushed, he expressed his anguish in the pages of his private journal: "Oh God! ... You are there, and yet you do not take vengeance!" Jachimecki ascribes to these events the composer's maturing "into an inspired national bard who intuited the past, present and future of his native Poland."
|
What were the words Chopin wrote to a friend when he was alone and homesick?
|
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7.05
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5.33
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"text": [
"\"I curse the moment of my departure.\""
]
}
|
context-5_15_2.mp3
|
context-5_15.mp3
| 22,050 |
Joanna
|
Chopin, now alone in Vienna, was nostalgic for his homeland, and wrote to a friend, "I curse the moment of my departure." When in September 1831 he learned, while travelling from Vienna to Paris, that the uprising had been crushed, he expressed his anguish in the pages of his private journal: "Oh God! ...
|
Chopin, now alone in Vienna, was nostalgic for his homeland, and wrote to a friend, "I curse the moment of my departure." When in September eighteen thirty-one he learned, while travelling from Vienna to Paris, that the uprising had been crushed, he expressed his anguish in the pages of his private journal: "Oh God! ...
|
question-5_15_11.mp3
| 22,050 |
Ivy
|
What were the words Chopin wrote to a friend when he was alone and homesick?
|
56d3171959d6e41400146230
|
Frédéric_Chopin
|
Chopin's successes as a composer and performer opened the door to western Europe for him, and on 2 November 1830, he set out, in the words of Zdzisław Jachimecki, "into the wide world, with no very clearly defined aim, forever." With Woyciechowski, he headed for Austria, intending to go on to Italy. Later that month, in Warsaw, the November 1830 Uprising broke out, and Woyciechowski returned to Poland to enlist. Chopin, now alone in Vienna, was nostalgic for his homeland, and wrote to a friend, "I curse the moment of my departure." When in September 1831 he learned, while travelling from Vienna to Paris, that the uprising had been crushed, he expressed his anguish in the pages of his private journal: "Oh God! ... You are there, and yet you do not take vengeance!" Jachimecki ascribes to these events the composer's maturing "into an inspired national bard who intuited the past, present and future of his native Poland."
|
What year did Chopin learn that the uprising in Warsaw was crushed?
|
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35.74802721088435
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34.82802721088436
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9.42
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8.5
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"text": [
"1831"
]
}
|
context-5_15_2.mp3
|
context-5_15.mp3
| 22,050 |
Joanna
|
Chopin, now alone in Vienna, was nostalgic for his homeland, and wrote to a friend, "I curse the moment of my departure." When in September 1831 he learned, while travelling from Vienna to Paris, that the uprising had been crushed, he expressed his anguish in the pages of his private journal: "Oh God! ...
|
Chopin, now alone in Vienna, was nostalgic for his homeland, and wrote to a friend, "I curse the moment of my departure." When in September eighteen thirty-one he learned, while travelling from Vienna to Paris, that the uprising had been crushed, he expressed his anguish in the pages of his private journal: "Oh God! ...
|
question-5_15_12.mp3
| 22,050 |
Emma
|
What year did Chopin learn that the uprising in Warsaw was crushed?
|
56cbf12a6d243a140015ee06
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
What event was Frédéric a part of when he arrived in Paris during the later part of September in 1831?
|
{
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122
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9.17
],
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7.51
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
9.17
],
"audio_segment_answer_start": [
7.51
],
"text": [
"the Polish Great Emigration"
]
}
|
context-5_16_0.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
Chopin arrived in Paris in late September eighteen thirty-one; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
question-5_16_0.mp3
| 22,050 |
Brian
|
What event was Frederic a part of when he arrived in Paris during the later part of September in eighteen thirty-one?
|
56cbf12a6d243a140015ee07
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
What version of Frédéric's birth name did he begin using after arriving in France?
|
{
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173
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10.68
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10.35
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16.67,
13.97
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"audio_full_neg_answer_start": [
16.2,
13.49
],
"audio_segment_answer_end": [
1.44
],
"audio_segment_answer_start": [
1.11
],
"text": [
"French"
]
}
|
context-5_16_1.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport.
|
In France he used the French versions of his given names, and after receiving French citizenship in eighteen thirty-five, he travelled on a French passport.
|
question-5_16_1.mp3
| 22,050 |
Matthew
|
What version of Frederic's birth name did he begin using after arriving in France?
|
56cbf12a6d243a140015ee08
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
In what year did Frédéric officially acquire French citizenship?
|
{
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251
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15.45
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14.379999999999999
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
6.21
],
"audio_segment_answer_start": [
5.14
],
"text": [
"1835"
]
}
|
context-5_16_1.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport.
|
In France he used the French versions of his given names, and after receiving French citizenship in eighteen thirty-five, he travelled on a French passport.
|
question-5_16_2.mp3
| 22,050 |
Matthew
|
In what year did Frederic officially acquire French citizenship?
|
56cbf12a6d243a140015ee09
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
What were the two kinds of relationships stated as Frédéric having with his fellow Poland natives in exile?
|
{
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355
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22.408027210884352
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21.21802721088435
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
4.84
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"audio_segment_answer_start": [
3.65
],
"text": [
"friends and confidants"
]
}
|
context-5_16_2.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French.
|
However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French.
|
question-5_16_3.mp3
| 22,050 |
Kevin
|
What were the two kinds of relationships stated as Frederic having with his fellow Poland natives in exile?
|
56cbf12a6d243a140015ee0a
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
What nationality is stated as the one Frédéric felt most identified by?
|
{
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8.02
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"audio_full_answer_start": [
7.59
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
8.02
],
"audio_segment_answer_start": [
7.59
],
"text": [
"Polish"
]
}
|
context-5_16_0.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
Chopin arrived in Paris in late September eighteen thirty-one; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
question-5_16_4.mp3
| 22,050 |
Matthew
|
What nationality is stated as the one Frederic felt most identified by?
|
56cf6d3e4df3c31400b0d781
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
When did Chopin reach Paris?
|
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3.48
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"audio_segment_answer_start": [
1.82
],
"text": [
"September 1831"
]
}
|
context-5_16_0.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
Chopin arrived in Paris in late September eighteen thirty-one; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
question-5_16_5.mp3
| 22,050 |
Olivia
|
When did Chopin reach Paris?
|
56cf6d3e4df3c31400b0d782
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
By not going back to Poland Chopin became part of what?
|
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126
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9.17
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7.59
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
9.17
],
"audio_segment_answer_start": [
7.59
],
"text": [
"Polish Great Emigration"
]
}
|
context-5_16_0.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
Chopin arrived in Paris in late September eighteen thirty-one; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
question-5_16_6.mp3
| 22,050 |
Olivia
|
By not going back to Poland Chopin became part of what?
|
56cf6d3e4df3c31400b0d783
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
In what year did Chopin become a French citizen?
|
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251
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15.45
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"audio_full_answer_start": [
14.379999999999999
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
6.21
],
"audio_segment_answer_start": [
5.14
],
"text": [
"1835"
]
}
|
context-5_16_1.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport.
|
In France he used the French versions of his given names, and after receiving French citizenship in eighteen thirty-five, he travelled on a French passport.
|
question-5_16_7.mp3
| 22,050 |
Kevin
|
In what year did Chopin become a French citizen?
|
56cf6d3e4df3c31400b0d784
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
What is the name of Chopin's biographer?
|
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451
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27.33004535147392
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26.44004535147392
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"audio_segment_answer_end": [
2.25
],
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1.36
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"text": [
"Adam Zamoyski"
]
}
|
context-5_16_3.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
question-5_16_8.mp3
| 22,050 |
Ivy
|
What is the name of Chopin's biographer?
|
56d318f359d6e41400146236
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
After 1831, what country did Chopin never return to?
|
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4.68
],
"text": [
"Poland"
]
}
|
context-5_16_0.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
Chopin arrived in Paris in late September eighteen thirty-one; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
question-5_16_9.mp3
| 22,050 |
Emma
|
After eighteen thirty-one, what country did Chopin never return to?
|
56d318f359d6e41400146237
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
What country's passport did he have from 1835?
|
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0.62
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"audio_segment_answer_start": [
0.29
],
"text": [
"France"
]
}
|
context-5_16_1.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport.
|
In France he used the French versions of his given names, and after receiving French citizenship in eighteen thirty-five, he travelled on a French passport.
|
question-5_16_10.mp3
| 22,050 |
Kimberly
|
What country's passport did he have from eighteen thirty-five?
|
56d318f359d6e41400146238
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
What language was Chopin never completely at ease speaking?
|
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10.35
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16.67,
13.97
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16.2,
13.49
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1.44
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"audio_segment_answer_start": [
1.11
],
"text": [
"French"
]
}
|
context-5_16_1.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport.
|
In France he used the French versions of his given names, and after receiving French citizenship in eighteen thirty-five, he travelled on a French passport.
|
question-5_16_11.mp3
| 22,050 |
Ivy
|
What language was Chopin never completely at ease speaking?
|
56d318f359d6e41400146239
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
What biographer of Chopin wrote that Chopin never considered himself French?
|
{
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27.33004535147392
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2.25
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"audio_segment_answer_start": [
1.36
],
"text": [
"Adam Zamoyski"
]
}
|
context-5_16_3.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
question-5_16_12.mp3
| 22,050 |
Brian
|
What biographer of Chopin wrote that Chopin never considered himself French?
|
56d318f359d6e4140014623a
|
Frédéric_Chopin
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration. In France he used the French versions of his given names, and after receiving French citizenship in 1835, he travelled on a French passport. However, Chopin remained close to his fellow Poles in exile as friends and confidants and he never felt fully comfortable speaking French. Chopin's biographer Adam Zamoyski writes that he never considered himself to be French, despite his father's French origins, and always saw himself as a Pole.
|
Due to the numbers of expatriates of Poland after the uprising, what did it become to be known as?
|
{
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126
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9.17
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7.59
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"audio_segment_answer_end": [
9.17
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"audio_segment_answer_start": [
7.59
],
"text": [
"Polish Great Emigration"
]
}
|
context-5_16_0.mp3
|
context-5_16.mp3
| 22,050 |
Joanna
|
Chopin arrived in Paris in late September 1831; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
Chopin arrived in Paris in late September eighteen thirty-one; he would never return to Poland, thus becoming one of many expatriates of the Polish Great Emigration.
|
question-5_16_13.mp3
| 22,050 |
Kimberly
|
Due to the numbers of expatriates of Poland after the uprising, what did it become to be known as?
|
56cbf37e6d243a140015ee10
|
Frédéric_Chopin
|
In Paris, Chopin encountered artists and other distinguished figures, and found many opportunities to exercise his talents and achieve celebrity. During his years in Paris he was to become acquainted with, among many others, Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugène Delacroix, and Alfred de Vigny. Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
In what city did Frédéric achieve celebrity status?
|
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3
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0.31
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1.17
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0.9
],
"audio_segment_answer_start": [
0.31
],
"text": [
"Paris"
]
}
|
context-5_17_0.mp3
|
context-5_17.mp3
| 22,050 |
Salli
|
In Paris, Chopin encountered artists and other distinguished figures, and found many opportunities to exercise his talents and achieve celebrity.
|
In Paris, Chopin encountered artists and other distinguished figures, and found many opportunities to exercise his talents and achieve celebrity.
|
question-5_17_0.mp3
| 22,050 |
Justin
|
In what city did Frederic achieve celebrity status?
|
56cbf37e6d243a140015ee12
|
Frédéric_Chopin
|
In Paris, Chopin encountered artists and other distinguished figures, and found many opportunities to exercise his talents and achieve celebrity. During his years in Paris he was to become acquainted with, among many others, Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugène Delacroix, and Alfred de Vigny. Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
Who was the principal of the Polish Literary Society that Frédéric became acquainted with?
|
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24.72206349206349
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23.752063492063492
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"audio_segment_answer_end": [
3.29
],
"audio_segment_answer_start": [
2.32
],
"text": [
"Adam Mickiewicz"
]
}
|
context-5_17_2.mp3
|
context-5_17.mp3
| 22,050 |
Salli
|
Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
question-5_17_1.mp3
| 22,050 |
Emma
|
Who was the principal of the Polish Literary Society that Frederic became acquainted with?
|
56cbf37e6d243a140015ee13
|
Frédéric_Chopin
|
In Paris, Chopin encountered artists and other distinguished figures, and found many opportunities to exercise his talents and achieve celebrity. During his years in Paris he was to become acquainted with, among many others, Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugène Delacroix, and Alfred de Vigny. Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
What did Frédéric create from verses of the poet Adam Mickiewicz?
|
{
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29.88206349206349
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29.282063492063493
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8.45
],
"audio_segment_answer_start": [
7.85
],
"text": [
"songs"
]
}
|
context-5_17_2.mp3
|
context-5_17.mp3
| 22,050 |
Salli
|
Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
question-5_17_2.mp3
| 22,050 |
Emma
|
What did Frederic create from verses of the poet Adam Mickiewicz?
|
56cf6e0d4df3c31400b0d789
|
Frédéric_Chopin
|
In Paris, Chopin encountered artists and other distinguished figures, and found many opportunities to exercise his talents and achieve celebrity. During his years in Paris he was to become acquainted with, among many others, Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugène Delacroix, and Alfred de Vigny. Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
What poet did Chopin use verses from for songs?
|
{
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368
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24.72206349206349
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23.752063492063492
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
3.29
],
"audio_segment_answer_start": [
2.32
],
"text": [
"Adam Mickiewicz"
]
}
|
context-5_17_2.mp3
|
context-5_17.mp3
| 22,050 |
Salli
|
Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
question-5_17_3.mp3
| 22,050 |
Matthew
|
What poet did Chopin use verses from for songs?
|
56cf6e0d4df3c31400b0d78a
|
Frédéric_Chopin
|
In Paris, Chopin encountered artists and other distinguished figures, and found many opportunities to exercise his talents and achieve celebrity. During his years in Paris he was to become acquainted with, among many others, Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugène Delacroix, and Alfred de Vigny. Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
What people did Chopin meet while in Paris?
|
{
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21.354036281179138
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13.874036281179137
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"audio_full_neg_answer_start": [],
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12.33
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"audio_segment_answer_start": [
4.85
],
"text": [
"Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugène Delacroix, and Alfred de Vigny"
]
}
|
context-5_17_1.mp3
|
context-5_17.mp3
| 22,050 |
Salli
|
During his years in Paris he was to become acquainted with, among many others, Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugène Delacroix, and Alfred de Vigny.
|
During his years in Paris he was to become acquainted with, among many others, Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugene Delacroix, and Alfred de Vigny.
|
question-5_17_4.mp3
| 22,050 |
Justin
|
What people did Chopin meet while in Paris?
|
56d319d459d6e41400146240
|
Frédéric_Chopin
|
In Paris, Chopin encountered artists and other distinguished figures, and found many opportunities to exercise his talents and achieve celebrity. During his years in Paris he was to become acquainted with, among many others, Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugène Delacroix, and Alfred de Vigny. Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
What was the name of the poet Chopin became acquainted with in Paris?
|
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23.752063492063492
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"audio_full_neg_answer_start": [],
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3.29
],
"audio_segment_answer_start": [
2.32
],
"text": [
"Adam Mickiewicz"
]
}
|
context-5_17_2.mp3
|
context-5_17.mp3
| 22,050 |
Salli
|
Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
question-5_17_5.mp3
| 22,050 |
Salli
|
What was the name of the poet Chopin became acquainted with in Paris?
|
56d319d459d6e41400146241
|
Frédéric_Chopin
|
In Paris, Chopin encountered artists and other distinguished figures, and found many opportunities to exercise his talents and achieve celebrity. During his years in Paris he was to become acquainted with, among many others, Hector Berlioz, Franz Liszt, Ferdinand Hiller, Heinrich Heine, Eugène Delacroix, and Alfred de Vigny. Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
What position did the poet who Chopin knew in Paris hold?
|
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24.892063492063492
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"audio_full_neg_answer_start": [],
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6.02
],
"audio_segment_answer_start": [
3.46
],
"text": [
"principal of the Polish Literary Society"
]
}
|
context-5_17_2.mp3
|
context-5_17.mp3
| 22,050 |
Salli
|
Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
Chopin was also acquainted with the poet Adam Mickiewicz, principal of the Polish Literary Society, some of whose verses he set as songs.
|
question-5_17_6.mp3
| 22,050 |
Olivia
|
What position did the poet who Chopin knew in Paris hold?
|
56cbf5106d243a140015ee18
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
Which friend of Frédéric failed to achieve success in England?
|
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8.062018140589569
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3.98
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2.83
],
"text": [
"Julian Fontana"
]
}
|
context-5_18_1.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymala, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michalowski and Samson, Chopin's "general factotum and copyist".
|
question-5_18_0.mp3
| 22,050 |
Salli
|
Which friend of Frederic failed to achieve success in England?
|
56cbf5106d243a140015ee19
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
Who was Frédéric's trusted adviser while in Paris?
|
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14.672018140589568
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13.512018140589568
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
9.44
],
"audio_segment_answer_start": [
8.28
],
"text": [
"Albert Grzymała"
]
}
|
context-5_18_1.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymala, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michalowski and Samson, Chopin's "general factotum and copyist".
|
question-5_18_1.mp3
| 22,050 |
Kevin
|
Who was Frederic's trusted adviser while in Paris?
|
56cbf5106d243a140015ee1a
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
What familial role was Albert Grzymała compared to in regards to Frédéric?
|
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22.96201814058957
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22.29201814058957
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17.73
],
"audio_segment_answer_start": [
17.06
],
"text": [
"elder brother"
]
}
|
context-5_18_1.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymala, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michalowski and Samson, Chopin's "general factotum and copyist".
|
question-5_18_2.mp3
| 22,050 |
Ivy
|
What familial role was Albert Grzymala compared to in regards to Frederic?
|
56cbf5106d243a140015ee1b
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
Who is stated as a jack of all trades in service to Frédéric?
|
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9.212018140589569
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8.062018140589569
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"audio_full_neg_answer_start": [],
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3.98
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2.83
],
"text": [
"Julian Fontana"
]
}
|
context-5_18_1.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymala, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michalowski and Samson, Chopin's "general factotum and copyist".
|
question-5_18_3.mp3
| 22,050 |
Salli
|
Who is stated as a jack of all trades in service to Frederic?
|
56cbf5106d243a140015ee1c
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
What nationality were the two friends who served as a pivotal influence in Frédéric's life while in Paris?
|
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|
context-5_18_0.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
Two Polish friends in Paris were also to play important roles in Chopin's life there.
|
Two Polish friends in Paris were also to play important roles in Chopin's life there.
|
question-5_18_4.mp3
| 22,050 |
Kendra
|
What nationality were the two friends who served as a pivotal influence in Frederic's life while in Paris?
|
56cf6f874df3c31400b0d796
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
Julian Fontana tried to find his way where before moving to Paris?
|
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|
context-5_18_1.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymala, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michalowski and Samson, Chopin's "general factotum and copyist".
|
question-5_18_5.mp3
| 22,050 |
Justin
|
Julian Fontana tried to find his way where before moving to Paris?
|
56d31b3759d6e41400146244
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
Where did Julian Fontana fail to get established?
|
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|
context-5_18_1.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymala, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michalowski and Samson, Chopin's "general factotum and copyist".
|
question-5_18_6.mp3
| 22,050 |
Amy
|
Where did Julian Fontana fail to get established?
|
56d31b3759d6e41400146245
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
Who did Chopin know that became rich in Paris?
|
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"text": [
"Albert Grzymała"
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|
context-5_18_1.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymala, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michalowski and Samson, Chopin's "general factotum and copyist".
|
question-5_18_7.mp3
| 22,050 |
Kimberly
|
Who did Chopin know that became rich in Paris?
|
56d31b3759d6e41400146246
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
Which friend of Chopin became like an older brother to him?
|
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"Albert Grzymała"
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|
context-5_18_1.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymala, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michalowski and Samson, Chopin's "general factotum and copyist".
|
question-5_18_8.mp3
| 22,050 |
Olivia
|
Which friend of Chopin became like an older brother to him?
|
56d31b3759d6e41400146247
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
Which friend took on the role of several jobs to help Chopin including copyist?
|
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"Julian Fontana"
]
}
|
context-5_18_1.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymala, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michalowski and Samson, Chopin's "general factotum and copyist".
|
question-5_18_9.mp3
| 22,050 |
Joey
|
Which friend took on the role of several jobs to help Chopin including copyist?
|
56d31b3759d6e41400146248
|
Frédéric_Chopin
|
Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
Where were Chopin and Fontana students together?
|
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"Warsaw Conservatory"
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}
|
context-5_18_1.mp3
|
context-5_18.mp3
| 22,050 |
Amy
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymała, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".
|
His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Albert Grzymala, who in Paris became a wealthy financier and society figure, often acted as Chopin's adviser and "gradually began to fill the role of elder brother in [his] life." Fontana was to become, in the words of Michalowski and Samson, Chopin's "general factotum and copyist".
|
question-5_18_10.mp3
| 22,050 |
Matthew
|
Where were Chopin and Fontana students together?
|
56cbf7d16d243a140015ee22
|
Frédéric_Chopin
|
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.
|
Who gave Frédéric his first significant public approval in regards to his compositions?
|
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"Robert Schumann"
]
}
|
context-5_19_0.mp3
|
context-5_19.mp3
| 22,050 |
Kimberly
|
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op.
|
At the end of eighteen thirty-one, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op.
|
question-5_19_0.mp3
| 22,050 |
Joey
|
Who gave Frederic his first significant public approval in regards to his compositions?
|
56cbf7d16d243a140015ee23
|
Frédéric_Chopin
|
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.
|
On what date did Frédéric give his first performance at the Salle Pleyel?
|
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"26 February 1832"
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|
context-5_19_1.mp3
|
context-5_19.mp3
| 22,050 |
Kimberly
|
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.
|
two Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On twenty-six February eighteen thirty-two Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration.
|
question-5_19_1.mp3
| 22,050 |
Kendra
|
On what date did Frederic give his first performance at the Salle Pleyel?
|
56cbf7d16d243a140015ee24
|
Frédéric_Chopin
|
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.
|
What is stated as a hindrance for Frédéric's ability to perform in large concert spaces?
|
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"intimate keyboard technique"
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|
context-5_19_4.mp3
|
context-5_19.mp3
| 22,050 |
Kimberly
|
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.
|
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.
|
question-5_19_2.mp3
| 22,050 |
Salli
|
What is stated as a hindrance for Frederic's ability to perform in large concert spaces?
|
56cbf7d16d243a140015ee25
|
Frédéric_Chopin
|
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.
|
Who did Frédéric rely upon financially before earning a great income from his works?
|
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"his father"
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|
context-5_19_7.mp3
|
context-5_19.mp3
| 22,050 |
Kimberly
|
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.
|
He no longer depended financially upon his father, and in the winter of eighteen thirty-two he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe.
|
question-5_19_3.mp3
| 22,050 |
Olivia
|
Who did Frederic rely upon financially before earning a great income from his works?
|
56cf70c74df3c31400b0d799
|
Frédéric_Chopin
|
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.
|
From whom did Chopin receive his first big endorsement?
|
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|
context-5_19_0.mp3
|
context-5_19.mp3
| 22,050 |
Kimberly
|
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op.
|
At the end of eighteen thirty-one, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op.
|
question-5_19_4.mp3
| 22,050 |
Brian
|
From whom did Chopin receive his first big endorsement?
|
56cf70c74df3c31400b0d79a
|
Frédéric_Chopin
|
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.
|
When did Chopin debut at Salle Pleyel ?
|
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|
context-5_19_1.mp3
|
context-5_19.mp3
| 22,050 |
Kimberly
|
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.
|
two Variations in the Allgemeine musikalische Zeitung (his first published article on music), declared: "Hats off, gentlemen! A genius." On twenty-six February eighteen thirty-two Chopin gave a debut Paris concert at the Salle Pleyel which drew universal admiration.
|
question-5_19_5.mp3
| 22,050 |
Ivy
|
When did Chopin debut at Salle Pleyel ?
|
56cf70c74df3c31400b0d79c
|
Frédéric_Chopin
|
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.
|
What affluent family did Chopin gain a patronage from?
|
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|
context-5_19_5.mp3
|
context-5_19.mp3
| 22,050 |
Kimberly
|
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).
|
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).
|
question-5_19_6.mp3
| 22,050 |
Justin
|
What affluent family did Chopin gain a patronage from?
|
56d31bfb59d6e4140014624e
|
Frédéric_Chopin
|
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.
|
When did Chopin receive his first major endorsement from Robert Schumann?
|
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|
context-5_19_0.mp3
|
context-5_19.mp3
| 22,050 |
Kimberly
|
At the end of 1831, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op.
|
At the end of eighteen thirty-one, Chopin received the first major endorsement from an outstanding contemporary when Robert Schumann, reviewing the Op.
|
question-5_19_7.mp3
| 22,050 |
Kevin
|
When did Chopin receive his first major endorsement from Robert Schumann?
|
56d31bfb59d6e41400146250
|
Frédéric_Chopin
|
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.
|
What did Chopin realize was not ideal for larger spaces after his first successful concert in Paris?
|
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|
context-5_19_4.mp3
|
context-5_19.mp3
| 22,050 |
Kimberly
|
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.
|
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.
|
question-5_19_8.mp3
| 22,050 |
Joanna
|
What did Chopin realize was not ideal for larger spaces after his first successful concert in Paris?
|
56d31bfb59d6e41400146252
|
Frédéric_Chopin
|
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.
|
Once Chopin stopped performing concerts, how did he earn his income?
|
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|
context-5_19_7.mp3
|
context-5_19.mp3
| 22,050 |
Kimberly
|
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.
|
He no longer depended financially upon his father, and in the winter of eighteen thirty-two he began earning a handsome income from publishing his works and teaching piano to affluent students from all over Europe.
|
question-5_19_9.mp3
| 22,050 |
Justin
|
Once Chopin stopped performing concerts, how did he earn his income?
|
56cbfa0e6d243a140015ee2d
|
Frédéric_Chopin
|
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.
|
What was Frédéric's favorite environment to perform in?
|
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|
context-5_20_2.mp3
|
context-5_20.mp3
| 22,050 |
Ivy
|
He played more frequently at salons, but preferred playing at his own Paris apartment for small groups of friends.
|
He played more frequently at salons, but preferred playing at his own Paris apartment for small groups of friends.
|
question-5_20_0.mp3
| 22,050 |
Kimberly
|
What was Frederic's favorite environment to perform in?
|
56cbfa0e6d243a140015ee2e
|
Frédéric_Chopin
|
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.
|
What instrument did Frédéric play in a performance on 23 March 1833?
|
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|
context-5_20_4.mp3
|
context-5_20.mp3
| 22,050 |
Ivy
|
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.
|
Examples include a concert on twenty-three March eighteen thirty-three, in which Chopin, Liszt and Hiller performed (on pianos) a concerto by J.S. Bach for three keyboards; and, on three March eighteen thirty-eight, 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 seventh symphony.
|
question-5_20_1.mp3
| 22,050 |
Brian
|
What instrument did Frederic play in a performance on twenty-three March eighteen thirty-three?
|
56cf75794df3c31400b0d7d1
|
Frédéric_Chopin
|
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.
|
Chopin gave a yearly performance where?
|
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|
context-5_20_1.mp3
|
context-5_20.mp3
| 22,050 |
Ivy
|
In later years he generally gave a single annual concert at the Salle Pleyel, a venue that seated three hundred.
|
In later years he generally gave a single annual concert at the Salle Pleyel, a venue that seated three hundred.
|
question-5_20_2.mp3
| 22,050 |
Kendra
|
Chopin gave a yearly performance where?
|
56cf75794df3c31400b0d7d2
|
Frédéric_Chopin
|
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.
|
Chopin worked with Liszt on what piece?
|
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3.02
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"Hexameron"
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|
context-5_20_5.mp3
|
context-5_20.mp3
| 22,050 |
Ivy
|
Chopin was also involved in the composition of Liszt's Hexameron; he wrote the sixth (and final) variation on Bellini's theme.
|
Chopin was also involved in the composition of Liszt's Hexameron; he wrote the sixth (and final) variation on Bellini's theme.
|
question-5_20_3.mp3
| 22,050 |
Brian
|
Chopin worked with Liszt on what piece?
|
56cf75794df3c31400b0d7d3
|
Frédéric_Chopin
|
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.
|
In 1833 with whom with Chopin work to get his music published?
|
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"Maurice Schlesinger"
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|
context-5_20_6.mp3
|
context-5_20.mp3
| 22,050 |
Ivy
|
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.
|
Chopin's music soon found success with publishers, and in eighteen thirty-three 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.
|
question-5_20_4.mp3
| 22,050 |
Kendra
|
In eighteen thirty-three with whom with Chopin work to get his music published?
|
56cf75794df3c31400b0d7d4
|
Frédéric_Chopin
|
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.
|
What is the name of Chopin's pupil who performed with him?
|
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"Adolphe Gutmann"
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|
context-5_20_4.mp3
|
context-5_20.mp3
| 22,050 |
Ivy
|
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.
|
Examples include a concert on twenty-three March eighteen thirty-three, in which Chopin, Liszt and Hiller performed (on pianos) a concerto by J.S. Bach for three keyboards; and, on three March eighteen thirty-eight, 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 seventh symphony.
|
question-5_20_5.mp3
| 22,050 |
Joey
|
What is the name of Chopin's pupil who performed with him?
|
56d31dcb59d6e41400146259
|
Frédéric_Chopin
|
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.
|
Where did Chopin prefer to play for people?
|
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"apartment"
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|
context-5_20_2.mp3
|
context-5_20.mp3
| 22,050 |
Ivy
|
He played more frequently at salons, but preferred playing at his own Paris apartment for small groups of friends.
|
He played more frequently at salons, but preferred playing at his own Paris apartment for small groups of friends.
|
question-5_20_6.mp3
| 22,050 |
Kimberly
|
Where did Chopin prefer to play for people?
|
56d31dcb59d6e4140014625b
|
Frédéric_Chopin
|
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.
|
On March 23, 1833, who headlined and performed with Chopin at a concert?
|
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context-5_20_4.mp3
|
context-5_20.mp3
| 22,050 |
Ivy
|
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.
|
Examples include a concert on twenty-three March eighteen thirty-three, in which Chopin, Liszt and Hiller performed (on pianos) a concerto by J.S. Bach for three keyboards; and, on three March eighteen thirty-eight, 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 seventh symphony.
|
question-5_20_7.mp3
| 22,050 |
Matthew
|
On March twenty-three, eighteen thirty-three, who headlined and performed with Chopin at a concert?
|
56d31dcb59d6e4140014625c
|
Frédéric_Chopin
|
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.
|
Who did Chopin contract with for publishing his music?
|
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"Maurice Schlesinger"
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|
context-5_20_6.mp3
|
context-5_20.mp3
| 22,050 |
Ivy
|
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.
|
Chopin's music soon found success with publishers, and in eighteen thirty-three 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.
|
question-5_20_8.mp3
| 22,050 |
Ivy
|
Who did Chopin contract with for publishing his music?
|
56cbfbdd6d243a140015ee36
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
Who did Frédéric meet in the spring of 1834 at the Lower Rhenish Music Festival?
|
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"Felix Mendelssohn"
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|
context-5_21_0.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn.
|
In the spring of eighteen thirty-four, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn.
|
question-5_21_0.mp3
| 22,050 |
Olivia
|
Who did Frederic meet in the spring of eighteen thirty-four at the Lower Rhenish Music Festival?
|
56cbfbdd6d243a140015ee37
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
What two activities did Frédéric do while visiting for a day in Düsseldorf with Mendelssohn and Hiller?
|
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|
context-5_21_2.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn.
|
They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn.
|
question-5_21_1.mp3
| 22,050 |
Joey
|
What two activities did Frederic do while visiting for a day in Dusseldorf with Mendelssohn and Hiller?
|
56cbfbdd6d243a140015ee38
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
Who was the director of the Academy of Art that Frédéric met while in Düsseldorf?
|
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"Friedrich Wilhelm Schadow"
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|
context-5_21_2.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn.
|
They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn.
|
question-5_21_2.mp3
| 22,050 |
Joanna
|
Who was the director of the Academy of Art that Frederic met while in Dusseldorf?
|
56cbfbdd6d243a140015ee39
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
Where were Frédéric's parents located at when he saw them for the final time in 1835?
|
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"Carlsbad"
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|
context-5_21_3.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them.
|
In eighteen thirty-five Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them.
|
question-5_21_3.mp3
| 22,050 |
Matthew
|
Where were Frederic's parents located at when he saw them for the final time in eighteen thirty-five?
|
56cf7b8a4df3c31400b0d81f
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
Where did Chopin meet Felix Mendelssohn?
|
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"the Lower Rhenish Music Festival"
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|
context-5_21_0.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn.
|
In the spring of eighteen thirty-four, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn.
|
question-5_21_4.mp3
| 22,050 |
Kimberly
|
Where did Chopin meet Felix Mendelssohn?
|
56cf7b8a4df3c31400b0d820
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
Who did Chopin attend the Lower Rhenish Music Festival with?
|
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|
context-5_21_0.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn.
|
In the spring of eighteen thirty-four, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn.
|
question-5_21_5.mp3
| 22,050 |
Kevin
|
Who did Chopin attend the Lower Rhenish Music Festival with?
|
56cf7b8a4df3c31400b0d821
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
In 1835 where did Chopin and his parents visit?
|
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|
context-5_21_3.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them.
|
In eighteen thirty-five Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them.
|
question-5_21_6.mp3
| 22,050 |
Kendra
|
In eighteen thirty-five where did Chopin and his parents visit?
|
56cf7b8a4df3c31400b0d822
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
When did Chopin propose marriage to Maria Wodziński?
|
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"July 1836"
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context-5_21_9.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle.
|
In July eighteen thirty-six Chopin travelled to Marienbad and Dresden to be with the Wodzinski family, and in September he proposed to Maria, whose mother Countess Wodzinska approved in principle.
|
question-5_21_7.mp3
| 22,050 |
Salli
|
When did Chopin propose marriage to Maria Wodzinski?
|
56cf7b8a4df3c31400b0d823
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
Who was Maria's mother?
|
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"Countess Wodzińska"
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|
context-5_21_9.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle.
|
In July eighteen thirty-six Chopin travelled to Marienbad and Dresden to be with the Wodzinski family, and in September he proposed to Maria, whose mother Countess Wodzinska approved in principle.
|
question-5_21_8.mp3
| 22,050 |
Brian
|
Who was Maria's mother?
|
56d31f8a59d6e41400146262
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
Who did Chopin meet at a music festival early in 1834?
|
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"Felix Mendelssohn"
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|
context-5_21_0.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn.
|
In the spring of eighteen thirty-four, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn.
|
question-5_21_9.mp3
| 22,050 |
Kimberly
|
Who did Chopin meet at a music festival early in eighteen thirty-four?
|
56d31f8a59d6e41400146263
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
Where did Chopin and Hiller go with the person Chopin met in the spring of 1834?
|
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2.13
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"text": [
"Düsseldorf"
]
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|
context-5_21_1.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director.
|
After the festival, the three visited Dusseldorf, where Mendelssohn had been appointed musical director.
|
question-5_21_10.mp3
| 22,050 |
Kendra
|
Where did Chopin and Hiller go with the person Chopin met in the spring of eighteen thirty-four?
|
56d31f8a59d6e41400146264
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
What was Friedrich Wilhelm Schadow position?
|
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"director of the Academy of Art"
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|
context-5_21_2.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn.
|
They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn.
|
question-5_21_11.mp3
| 22,050 |
Justin
|
What was Friedrich Wilhelm Schadow position?
|
56d31f8a59d6e41400146266
|
Frédéric_Chopin
|
In the spring of 1834, Chopin attended the Lower Rhenish Music Festival in Aix-la-Chapelle with Hiller, and it was there that Chopin met Felix Mendelssohn. After the festival, the three visited Düsseldorf, where Mendelssohn had been appointed musical director. They spent what Mendelssohn described as "a very agreeable day", playing and discussing music at his piano, and met Friedrich Wilhelm Schadow, director of the Academy of Art, and some of his eminent pupils such as Lessing, Bendemann, Hildebrandt and Sohn. In 1835 Chopin went to Carlsbad, where he spent time with his parents; it was the last time he would see them. On his way back to Paris, he met old friends from Warsaw, the Wodzińskis. He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven. This meeting prompted him to stay for two weeks in Dresden, when he had previously intended to return to Paris via Leipzig. The sixteen-year-old girl's portrait of the composer is considered, along with Delacroix's, as among Chopin's best likenesses. In October he finally reached Leipzig, where he met Schumann, Clara Wieck and Felix Mendelssohn, who organised for him a performance of his own oratorio St. Paul, and who considered him "a perfect musician". In July 1836 Chopin travelled to Marienbad and Dresden to be with the Wodziński family, and in September he proposed to Maria, whose mother Countess Wodzińska approved in principle. Chopin went on to Leipzig, where he presented Schumann with his G minor Ballade. At the end of 1836 he sent Maria an album in which his sister Ludwika had inscribed seven of his songs, and his 1835 Nocturne in C-sharp minor, Op. 27, No. 1. The anodyne thanks he received from Maria proved to be the last letter he was to have from her.
|
What was the first name of the girl Chopin proposed to?
|
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"Maria"
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|
context-5_21_5.mp3
|
context-5_21.mp3
| 22,050 |
Emma
|
He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven.
|
He had made the acquaintance of their daughter Maria in Poland five years earlier, when she was eleven.
|
question-5_21_12.mp3
| 22,050 |
Joanna
|
What was the first name of the girl Chopin proposed to?
|
56cbfcda6d243a140015ee40
|
Frédéric_Chopin
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner. You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
Who was the recipient of Frédéric's letter he wrote on 12 December 1831?
|
{
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10.03
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9.13
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10.03
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"audio_segment_answer_start": [
9.13
],
"text": [
"Woyciechowski"
]
}
|
context-5_22_0.mp3
|
context-5_22.mp3
| 22,050 |
Brian
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner.
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on twelve December eighteen thirty-one he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.--also Kalkbrenner.
|
question-5_22_0.mp3
| 22,050 |
Joey
|
Who was the recipient of Frederic's letter he wrote on twelve December eighteen thirty-one?
|
56cbfcda6d243a140015ee41
|
Frédéric_Chopin
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner. You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
What are the three names stated in Frédéric's letter that he had shown interest and curiosity in?
|
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17.91
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4.23
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2.43
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"text": [
"Herz, Liszt, Hiller"
]
}
|
context-5_22_1.mp3
|
context-5_22.mp3
| 22,050 |
Brian
|
You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on twenty-six February eighteen thirty-two at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
question-5_22_1.mp3
| 22,050 |
Ivy
|
What are the three names stated in Frederic's letter that he had shown interest and curiosity in?
|
56cbfcda6d243a140015ee42
|
Frédéric_Chopin
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner. You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
Who is stated as being in attendance of Frédéric's first performance at the Salle Pleyel on 26 February 1832?
|
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3.1
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3.18
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"text": [
"Liszt"
]
}
|
context-5_22_0.mp3
|
context-5_22.mp3
| 22,050 |
Brian
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner.
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on twelve December eighteen thirty-one he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.--also Kalkbrenner.
|
question-5_22_2.mp3
| 22,050 |
Ivy
|
Who is stated as being in attendance of Frederic's first performance at the Salle Pleyel on twenty-six February eighteen thirty-two?
|
56cf75c64df3c31400b0d7d9
|
Frédéric_Chopin
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner. You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
What was the date that LIszt first saw Chopin perform?
|
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"26 February 1832"
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|
context-5_22_1.mp3
|
context-5_22.mp3
| 22,050 |
Brian
|
You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on twenty-six February eighteen thirty-two at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
question-5_22_3.mp3
| 22,050 |
Joanna
|
What was the date that LIszt first saw Chopin perform?
|
56d3202159d6e4140014626d
|
Frédéric_Chopin
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner. You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
Which friend received the letter in which Chopin referenced Liszt?
|
{
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145
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10.03
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9.13
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10.03
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"audio_segment_answer_start": [
9.13
],
"text": [
"Woyciechowski"
]
}
|
context-5_22_0.mp3
|
context-5_22.mp3
| 22,050 |
Brian
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner.
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on twelve December eighteen thirty-one he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.--also Kalkbrenner.
|
question-5_22_4.mp3
| 22,050 |
Kevin
|
Which friend received the letter in which Chopin referenced Liszt?
|
56d3202159d6e4140014626f
|
Frédéric_Chopin
|
Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner. You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
Where was Chopin's first concert in Paris held?
|
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26.6
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11.12
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10.18
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"text": [
"the Salle Pleyel"
]
}
|
context-5_22_1.mp3
|
context-5_22.mp3
| 22,050 |
Brian
|
You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on twenty-six February eighteen thirty-two at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
|
question-5_22_5.mp3
| 22,050 |
Joey
|
Where was Chopin's first concert in Paris held?
|
56cbff116d243a140015ee46
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
What address did Frédéric live at during his stay in Paris?
|
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"text": [
"38 Rue de la Chaussée-d'Antin"
]
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|
context-5_23_0.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away.
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at thirty-eight Rue de la Chaussee-d'Antin, and Liszt at the Hotel de France on the Rue Lafitte, a few blocks away.
|
question-5_23_0.mp3
| 22,050 |
Brian
|
What address did Frederic live at during his stay in Paris?
|
56cbff116d243a140015ee47
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
How far down the road did Liszt live from Frédéric during this time?
|
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11.04
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"text": [
"a few blocks"
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}
|
context-5_23_0.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away.
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at thirty-eight Rue de la Chaussee-d'Antin, and Liszt at the Hotel de France on the Rue Lafitte, a few blocks away.
|
question-5_23_1.mp3
| 22,050 |
Salli
|
How far down the road did Liszt live from Frederic during this time?
|
56cbff116d243a140015ee48
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
How many times did Frédéric and Liszt collaborate in performances during the years of 1833 to 1841?
|
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1.74
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"seven"
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|
context-5_23_1.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
They performed together on seven occasions between 1833 and 1841.
|
They performed together on seven occasions between eighteen thirty-three and eighteen forty-one.
|
question-5_23_2.mp3
| 22,050 |
Joanna
|
How many times did Frederic and Liszt collaborate in performances during the years of eighteen thirty-three to eighteen forty-one?
|
56cbff116d243a140015ee49
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
For whose benefit was the first of these concerts performed for on 2 April 1833?
|
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9.85
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8.83
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"text": [
"Harriet Smithson"
]
}
|
context-5_23_2.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet.
|
The first, on two April eighteen thirty-three, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet.
|
question-5_23_3.mp3
| 22,050 |
Joey
|
For whose benefit was the first of these concerts performed for on two April eighteen thirty-three?
|
56cbff116d243a140015ee4a
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
At which two establishments was the last of these performances conducted at on 25 and 26 April 1841?
|
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8.71
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"audio_segment_answer_start": [
6.62
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"text": [
"Salle Pleyel and the Paris Conservatory"
]
}
|
context-5_23_4.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on twenty-five and twenty-six April eighteen forty-one.
|
question-5_23_4.mp3
| 22,050 |
Amy
|
At which two establishments was the last of these performances conducted at on twenty-five and twenty-six April eighteen forty-one?
|
56cf7c234df3c31400b0d832
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
When was the first time Liszt and Chopin performed together?
|
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18.852063492063493
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3.16
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1.26
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"text": [
"2 April 1833"
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|
context-5_23_2.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet.
|
The first, on two April eighteen thirty-three, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet.
|
question-5_23_5.mp3
| 22,050 |
Brian
|
When was the first time Liszt and Chopin performed together?
|
56cf7c234df3c31400b0d834
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
What was the charity that Liszt and Chopin last performed for?
|
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5.9
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4.15
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"text": [
"the Beethoven Memorial in Bonn"
]
}
|
context-5_23_4.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on twenty-five and twenty-six April eighteen forty-one.
|
question-5_23_6.mp3
| 22,050 |
Matthew
|
What was the charity that Liszt and Chopin last performed for?
|
56cf7c234df3c31400b0d835
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
Where did Liszt and Chopin last perform together?
|
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8.71
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6.62
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"Salle Pleyel and the Paris Conservatory"
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}
|
context-5_23_4.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on twenty-five and twenty-six April eighteen forty-one.
|
question-5_23_7.mp3
| 22,050 |
Matthew
|
Where did Liszt and Chopin last perform together?
|
56d320bf59d6e41400146274
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
When Liszt lived close to Chopin, where did he call home?
|
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"text": [
"the Hôtel de France on the Rue Lafitte"
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|
context-5_23_0.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away.
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at thirty-eight Rue de la Chaussee-d'Antin, and Liszt at the Hotel de France on the Rue Lafitte, a few blocks away.
|
question-5_23_8.mp3
| 22,050 |
Olivia
|
When Liszt lived close to Chopin, where did he call home?
|
56d320bf59d6e41400146276
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
How many times did Chopin and Liszy perform together in public?
|
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1.43
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"text": [
"seven"
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|
context-5_23_1.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
They performed together on seven occasions between 1833 and 1841.
|
They performed together on seven occasions between eighteen thirty-three and eighteen forty-one.
|
question-5_23_9.mp3
| 22,050 |
Brian
|
How many times did Chopin and Liszy perform together in public?
|
56d320bf59d6e41400146277
|
Frédéric_Chopin
|
The two became friends, and for many years lived in close proximity in Paris, Chopin at 38 Rue de la Chaussée-d'Antin, and Liszt at the Hôtel de France on the Rue Lafitte, a few blocks away. They performed together on seven occasions between 1833 and 1841. The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet. Later joint appearances included a benefit concert for the Benevolent Association of Polish Ladies in Paris. Their last appearance together in public was for a charity concert conducted for the Beethoven Memorial in Bonn, held at the Salle Pleyel and the Paris Conservatory on 25 and 26 April 1841.
|
Who did the first concert of Chopin and Liszt benefit?
|
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"Harriet Smithson"
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|
context-5_23_2.mp3
|
context-5_23.mp3
| 22,050 |
Salli
|
The first, on 2 April 1833, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet.
|
The first, on two April eighteen thirty-three, was at a benefit concert organized by Hector Berlioz for his bankrupt Shakespearean actress wife Harriet Smithson, during which they played George Onslow's Sonata in F minor for piano duet.
|
question-5_23_10.mp3
| 22,050 |
Kendra
|
Who did the first concert of Chopin and Liszt benefit?
|
56cc02376d243a140015ee50
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
What term describes the qualities of the relationship between Frédéric and Liszt?
|
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"love-hate relationship"
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|
context-5_24_0.mp3
|
context-5_24.mp3
| 22,050 |
Kimberly
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship.
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship.
|
question-5_24_0.mp3
| 22,050 |
Kendra
|
What term describes the qualities of the relationship between Frederic and Liszt?
|
56cc02376d243a140015ee51
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
What three qualities of Liszt are stated to have captivated Frédéric?
|
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14.35
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11.46
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"text": [
"theatricality, showmanship and success"
]
}
|
context-5_24_1.mp3
|
context-5_24.mp3
| 22,050 |
Kimberly
|
Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success.
|
Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success.
|
question-5_24_1.mp3
| 22,050 |
Salli
|
What three qualities of Liszt are stated to have captivated Frederic?
|
56cc02376d243a140015ee52
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
What did Frédéric receive from Liszt when the latter performed a nocturne with certain embellishments added?
|
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],
"text": [
"an apology"
]
}
|
context-5_24_3.mp3
|
context-5_24.mp3
| 22,050 |
Kimberly
|
10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology.
|
ten Etudes, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in eighteen forty-three when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology.
|
question-5_24_2.mp3
| 22,050 |
Salli
|
What did Frederic receive from Liszt when the latter performed a nocturne with certain embellishments added?
|
56cc02376d243a140015ee53
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
What did Frédéric introduce Liszt as in when referring to him in his letters up to 1848?
|
{
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983
],
"audio_full_answer_end": [
60.65009070294785
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59.66009070294785
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
11.09
],
"audio_segment_answer_start": [
10.1
],
"text": [
"my friend Liszt"
]
}
|
context-5_24_4.mp3
|
context-5_24.mp3
| 22,050 |
Kimberly
|
Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt".
|
Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as eighteen forty-eight he still referred to him as "my friend Liszt".
|
question-5_24_3.mp3
| 22,050 |
Kimberly
|
What did Frederic introduce Liszt as in when referring to him in his letters up to eighteen forty-eight?
|
56cfdb3e234ae51400d9bf7d
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
What piece did Chopin dedicate to Liszt?
|
{
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"audio_segment_answer_end": null,
"audio_segment_answer_start": null,
"text": [
"Op. 10 Études"
]
}
| null | null | null | null | null | null | null | null | null | null |
56cfdb3e234ae51400d9bf7f
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
What was the name of Liszt's mistress?
|
{
"answer_start": [
1168
],
"audio_full_answer_end": [
70.68412698412699
],
"audio_full_answer_start": [
69.97412698412698
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"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
9.94
],
"audio_segment_answer_start": [
9.23
],
"text": [
"Marie d'Agoult"
]
}
|
context-5_24_5.mp3
|
context-5_24.mp3
| 22,050 |
Kimberly
|
Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
question-5_24_5.mp3
| 22,050 |
Kevin
|
What was the name of Liszt's mistress?
|
56d3227259d6e4140014627e
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
Who did Chopin dedicate the Op. 10 Études to?
|
{
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243
],
"audio_full_answer_end": [
15.006009070294784
],
"audio_full_answer_start": [
14.566009070294784
],
"audio_full_neg_answer_end": [
9.676009070294786,
21.756009070294784,
20.306009070294785,
16.436009070294784
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9.326009070294784,
21.476009070294786,
19.886009070294783,
16.136009070294783
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"audio_segment_answer_end": [
5.79
],
"audio_segment_answer_start": [
5.35
],
"text": [
"Liszt"
]
}
|
context-5_24_1.mp3
|
context-5_24.mp3
| 22,050 |
Kimberly
|
Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success.
|
Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success.
|
question-5_24_6.mp3
| 22,050 |
Joey
|
Who did Chopin dedicate the Op. ten Etudes to?
|
56d3227259d6e4140014627f
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
Who apologized to Chopin for adding embellishments to a musical piece he perforemed that was written by Chopin?
|
{
"answer_start": [
243
],
"audio_full_answer_end": [
15.006009070294784
],
"audio_full_answer_start": [
14.566009070294784
],
"audio_full_neg_answer_end": [
9.676009070294786,
21.756009070294784,
20.306009070294785,
16.436009070294784
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"audio_full_neg_answer_start": [
9.326009070294784,
21.476009070294786,
19.886009070294783,
16.136009070294783
],
"audio_segment_answer_end": [
5.79
],
"audio_segment_answer_start": [
5.35
],
"text": [
"Liszt"
]
}
|
context-5_24_1.mp3
|
context-5_24.mp3
| 22,050 |
Kimberly
|
Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success.
|
Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success.
|
question-5_24_7.mp3
| 22,050 |
Justin
|
Who apologized to Chopin for adding embellishments to a musical piece he perforemed that was written by Chopin?
|
56d3227259d6e41400146280
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
What was the name of Liszt's mistress?
|
{
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1168
],
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70.68412698412699
],
"audio_full_answer_start": [
69.97412698412698
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"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
9.94
],
"audio_segment_answer_start": [
9.23
],
"text": [
"Marie d'Agoult"
]
}
|
context-5_24_5.mp3
|
context-5_24.mp3
| 22,050 |
Kimberly
|
Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
question-5_24_8.mp3
| 22,050 |
Joanna
|
What was the name of Liszt's mistress?
|
56d3227259d6e41400146281
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
Who did Chopin write to displaying his desire to take away a performers ability to play his music?
|
{
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499
],
"audio_full_answer_end": [
30.802063492063493
],
"audio_full_answer_start": [
30.332063492063494
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
4.45
],
"audio_segment_answer_start": [
3.98
],
"text": [
"Hiller"
]
}
|
context-5_24_3.mp3
|
context-5_24.mp3
| 22,050 |
Kimberly
|
10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology.
|
ten Etudes, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in eighteen forty-three when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology.
|
question-5_24_9.mp3
| 22,050 |
Amy
|
Who did Chopin write to displaying his desire to take away a performers ability to play his music?
|
56d3227259d6e41400146282
|
Frédéric_Chopin
|
Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
What was the name of the man who biogrpahers think Chopin was concerned about Liszt's growing relationship with?
|
{
"answer_start": [
1302
],
"audio_full_answer_end": [
78.33412698412698
],
"audio_full_answer_start": [
77.45412698412699
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
17.59
],
"audio_segment_answer_start": [
16.71
],
"text": [
"George Sand"
]
}
|
context-5_24_5.mp3
|
context-5_24.mp3
| 22,050 |
Kimberly
|
Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
|
question-5_24_10.mp3
| 22,050 |
Joanna
|
What was the name of the man who biogrpahers think Chopin was concerned about Liszt's growing relationship with?
|
56cc06496d243a140015ee5a
|
Frédéric_Chopin
|
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.
|
Who was the host of the gathering where Frédéric was introduced to George Sand?
|
{
"answer_start": [
30
],
"audio_full_answer_end": [
3.89
],
"audio_full_answer_start": [
3.04
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
3.89
],
"audio_segment_answer_start": [
3.04
],
"text": [
"Marie d'Agoult"
]
}
|
context-5_25_0.mp3
|
context-5_25.mp3
| 22,050 |
Joey
|
In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin).
|
In eighteen thirty-six, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin).
|
question-5_25_0.mp3
| 22,050 |
Amy
|
Who was the host of the gathering where Frederic was introduced to George Sand?
|
56cc06496d243a140015ee5d
|
Frédéric_Chopin
|
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.
|
What did Frédéric label the place in which he placed Maria and her mother's letters about the unlikely marriage?
|
{
"answer_start": [
713
],
"audio_full_answer_end": [
51.094036281179136
],
"audio_full_answer_start": [
50.21403628117913
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
7.39
],
"audio_segment_answer_start": [
6.51
],
"text": [
"My tragedy"
]
}
|
context-5_25_4.mp3
|
context-5_25.mp3
| 22,050 |
Joey
|
Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy".
|
Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy".
|
question-5_25_1.mp3
| 22,050 |
Kevin
|
What did Frederic label the place in which he placed Maria and her mother's letters about the unlikely marriage?
|
56cc06496d243a140015ee5e
|
Frédéric_Chopin
|
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.
|
Who did George Sand write to when admitting having a strong affection for Frédéric?
|
{
"answer_start": [
747
],
"audio_full_answer_end": [
53.61807256235828
],
"audio_full_answer_start": [
52.89807256235827
],
"audio_full_neg_answer_end": [],
"audio_full_neg_answer_start": [],
"audio_segment_answer_end": [
2.45
],
"audio_segment_answer_start": [
1.73
],
"text": [
"Grzymała"
]
}
|
context-5_25_5.mp3
|
context-5_25.mp3
| 22,050 |
Joey
|
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.
|
Sand, in a letter to Grzymala of June eighteen thirty-eight, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymala to assess Chopin's relationship with Maria Wodzinska, without realising that the affair, at least from Maria's side, was over.
|
question-5_25_2.mp3
| 22,050 |
Joanna
|
Who did George Sand write to when admitting having a strong affection for Frederic?
|
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