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gq: Interactions between alcohol and certain antibiotics may occur and may cause side-effects and decreased effectiveness of antibiotic therapy. While moderate alcohol consumption is unlikely to interfere with many common antibiotics, there are specific types of antibiotics with which alcohol consumption may cause serious side-effects. Therefore, potential risks of side-effects and effectiveness depend on the type of antibiotic administered. Despite the lack of a categorical counterindication, the belief that alcohol and antibiotics should never be mixed is widespread.

Question: What common drug can reduce antibiotic effectiveness? Question: What is one potential issue with drinking alcohol while taking antibiotics? Question: What can alcohol and certain antibiotics cause? Question: Do all antibiotics interact dangerously with alcohol? Question: What is unlikely to interfere with with many common antibiotics? Question: Is it OK to drink alcohol while taking any antibiotic? Question: What type of antibiotic is most likely to be a problem with alcohol? Question: What belief should bever be mixed widespread? Question: Should alcohol be used while on antibiotics? Question: How common is the belief that alcohol and antibiotics should never be mixed?

gq: Several molecular mechanisms of antibacterial resistance exist. Intrinsic antibacterial resistance may be part of the genetic makeup of bacterial strains. For example, an antibiotic target may be absent from the bacterial genome. Acquired resistance results from a mutation in the bacterial chromosome or the acquisition of extra-chromosomal DNA. Antibacterial-producing bacteria have evolved resistance mechanisms that have been shown to be similar to, and may have been transferred to, antibacterial-resistant strains. The spread of antibacterial resistance often occurs through vertical transmission of mutations during growth and by genetic recombination of DNA by horizontal genetic exchange. For instance, antibacterial resistance genes can be exchanged between different bacterial strains or species via plasmids that carry these resistance genes. Plasmids that carry several different resistance genes can confer resistance to multiple antibacterials. Cross-resistance to several antibacterials may also occur when a resistance mechanism encoded by a single gene conveys resistance to more than one antibacterial compound.

Question: What is part of hje the make up of bacterial strains? Question: What can be absent from the bacterial genome? Question: What does some resistance come from? Question: When does the spread of antibacterial resistance frequently occurs/ Question: What method of spread can occur in antibacterial resistance? Question: What is exchanged between between bacterial strains or species via plasmids that have this resistance? Question: What do plasmids do in resistance?

gq: Antibacterial-resistant strains and species, sometimes referred to as "superbugs", now contribute to the emergence of diseases that were for a while well controlled. For example, emergent bacterial strains causing tuberculosis (TB) that are resistant to previously effective antibacterial treatments pose many therapeutic challenges. Every year, nearly half a million new cases of multidrug-resistant tuberculosis (MDR-TB) are estimated to occur worldwide. For example, NDM-1 is a newly identified enzyme conveying bacterial resistance to a broad range of beta-lactam antibacterials. The United Kingdom's Health Protection Agency has stated that "most isolates with NDM-1 enzyme are resistant to all standard intravenous antibiotics for treatment of severe infections."

Question: What are strains that are resistant to antibiotics called sometimes? Question: What was a once almost controlled disease that is coming back do to resistance? Question: How many new infections of resistant TB are reported per year? Question: What is the acronym used to describe resistant TB?

gq: Inappropriate antibiotic treatment and overuse of antibiotics have contributed to the emergence of antibiotic-resistant bacteria. Self prescription of antibiotics is an example of misuse. Many antibiotics are frequently prescribed to treat symptoms or diseases that do not respond to antibiotics or that are likely to resolve without treatment. Also, incorrect or suboptimal antibiotics are prescribed for certain bacterial infections. The overuse of antibiotics, like penicillin and erythromycin, has been associated with emerging antibiotic resistance since the 1950s. Widespread usage of antibiotics in hospitals has also been associated with increases in bacterial strains and species that no longer respond to treatment with the most common antibiotics.

Question: What are the two biggest reasons for resistance? Question: What is a common method of misuse? Question: What is an example of bad treatment causing resistance?

gq: Common forms of antibiotic misuse include excessive use of prophylactic antibiotics in travelers and failure of medical professionals to prescribe the correct dosage of antibiotics on the basis of the patient's weight and history of prior use. Other forms of misuse include failure to take the entire prescribed course of the antibiotic, incorrect dosage and administration, or failure to rest for sufficient recovery. Inappropriate antibiotic treatment, for example, is their prescription to treat viral infections such as the common cold. One study on respiratory tract infections found "physicians were more likely to prescribe antibiotics to patients who appeared to expect them". Multifactorial interventions aimed at both physicians and patients can reduce inappropriate prescription of antibiotics.

Question: What is a way of improperly using antibiotics for those traveling? Question: What can happen if a doctor doesn't prescribe to a person's weight and prior use? Question: What are 3 other common forms of bad antibiotic practices? Question: What happens when a cold is treated with antibiotics? Question: What do doctors usually do when a patient seems to want antibiotics even though they may not be right?

gq: Several organizations concerned with antimicrobial resistance are lobbying to eliminate the unnecessary use of antibiotics. The issues of misuse and overuse of antibiotics have been addressed by the formation of the US Interagency Task Force on Antimicrobial Resistance. This task force aims to actively address antimicrobial resistance, and is coordinated by the US Centers for Disease Control and Prevention, the Food and Drug Administration (FDA), and the National Institutes of Health (NIH), as well as other US agencies. An NGO campaign group is Keep Antibiotics Working. In France, an "Antibiotics are not automatic" government campaign started in 2002 and led to a marked reduction of unnecessary antibiotic prescriptions, especially in children.

Question: What is the name of a US government agency tasked with trying to stop improper use of antibiotics? Question: Which agencies control this task force? Question: When did the French start going after overuse of antibiotics?

gq: The emergence of antibiotic resistance has prompted restrictions on their use in the UK in 1970 (Swann report 1969), and the EU has banned the use of antibiotics as growth-promotional agents since 2003. Moreover, several organizations (e.g., The American Society for Microbiology (ASM), American Public Health Association (APHA) and the American Medical Association (AMA)) have called for restrictions on antibiotic use in food animal production and an end to all nontherapeutic uses.[citation needed] However, commonly there are delays in regulatory and legislative actions to limit the use of antibiotics, attributable partly to resistance against such regulation by industries using or selling antibiotics, and to the time required for research to test causal links between their use and resistance to them. Two federal bills (S.742 and H.R. 2562) aimed at phasing out nontherapeutic use of antibiotics in US food animals were proposed, but have not passed. These bills were endorsed by public health and medical organizations, including the American Holistic Nurses' Association, the American Medical Association, and the American Public Health Association (APHA).

Question: What report caused the UK to worry about resistance? Question: When did the EU ban antibiotics for speeding up growth? Question: What 3 US organizations have called for the banning of antibiotics in the production of food animals? Question: Name two US bills that want to ban antibiotics in food production? Question: What 3 medical associations supported the bills?

gq: There has been extensive use of antibiotics in animal husbandry. In the United States, the question of emergence of antibiotic-resistant bacterial strains due to use of antibiotics in livestock was raised by the US Food and Drug Administration (FDA) in 1977. In March 2012, the United States District Court for the Southern District of New York, ruling in an action brought by the Natural Resources Defense Council and others, ordered the FDA to revoke approvals for the use of antibiotics in livestock, which violated FDA regulations.

Question: What besides sick people are antibiotics used for? Question: When was resistance first discussed as a problem in the raising of farm animals? Question: When did a district court order the FDA to stop approving antibiotics in animals?

gq: Before the early 20th century, treatments for infections were based primarily on medicinal folklore. Mixtures with antimicrobial properties that were used in treatments of infections were described over 2000 years ago. Many ancient cultures, including the ancient Egyptians and ancient Greeks, used specially selected mold and plant materials and extracts to treat infections. More recent observations made in the laboratory of antibiosis between microorganisms led to the discovery of natural antibacterials produced by microorganisms. Louis Pasteur observed, "if we could intervene in the antagonism observed between some bacteria, it would offer perhaps the greatest hopes for therapeutics". The term 'antibiosis', meaning "against life", was introduced by the French bacteriologist Jean Paul Vuillemin as a descriptive name of the phenomenon exhibited by these early antibacterial drugs. Antibiosis was first described in 1877 in bacteria when Louis Pasteur and Robert Koch observed that an airborne bacillus could inhibit the growth of Bacillus anthracis. These drugs were later renamed antibiotics by Selman Waksman, an American microbiologist, in 1942. Synthetic antibiotic chemotherapy as a science and development of antibacterials began in Germany with Paul Ehrlich in the late 1880s. Ehrlich noted certain dyes would color human, animal, or bacterial cells, whereas others did not. He then proposed the idea that it might be possible to create chemicals that would act as a selective drug that would bind to and kill bacteria without harming the human host. After screening hundreds of dyes against various organisms, in 1907, he discovered a medicinally useful drug, the synthetic antibacterial salvarsan now called arsphenamine.

Question: What methods did people use before antibiotics to treat infections? Question: When were some kinds of antimicrobials first used? Question: What type of things did Egyptians and Greeks use? Question: What does antibiosis mean? Question: Who came up with the term antibiosis?

gq: The effects of some types of mold on infection had been noticed many times over the course of history (see: History of penicillin). In 1928, Alexander Fleming noticed the same effect in a Petri dish, where a number of disease-causing bacteria were killed by a fungus of the genus Penicillium. Fleming postulated that the effect is mediated by an antibacterial compound he named penicillin, and that its antibacterial properties could be exploited for chemotherapy. He initially characterized some of its biological properties, and attempted to use a crude preparation to treat some infections, but he was unable to pursue its further development without the aid of trained chemists.

Question: What type of organism has been reported to have worked on infections? Question: Who noticed in a lab the antibacterial characteristics of mold? Question: What mold did Fleming notice had antibacterial properties? Question: What did Fleming initially think a good use would be for it?

gq: The first sulfonamide and first commercially available antibacterial, Prontosil, was developed by a research team led by Gerhard Domagk in 1932 at the Bayer Laboratories of the IG Farben conglomerate in Germany. Domagk received the 1939 Nobel Prize for Medicine for his efforts. Prontosil had a relatively broad effect against Gram-positive cocci, but not against enterobacteria. Research was stimulated apace by its success. The discovery and development of this sulfonamide drug opened the era of antibacterials.

Question: What was the first available antibiotic? Question: Who led the team that came up with Prontosil? Question: What company developed Prontosil? Question: What prize did Domagk get for his work?

gq: In 1939, coinciding with the start of World War II, Rene Dubos reported the discovery of the first naturally derived antibiotic, tyrothricin, a compound of 20% gramicidin and 80% tyrocidine, from B. brevis. It was one of the first commercially manufactured antibiotics universally and was very effective in treating wounds and ulcers during World War II. Gramicidin, however, could not be used systemically because of toxicity. Tyrocidine also proved too toxic for systemic usage. Research results obtained during that period were not shared between the Axis and the Allied powers during the war.

Question: When was tyrothricin created? Question: What also happened in 1939 besides tyrothricin? Question: Who discovered tyrothricin? Question: What was the first antibiotic developed from nature? Question: What was tyrothricin used for during the war?

gq: Florey and Chain succeeded in purifying the first penicillin, penicillin G, in 1942, but it did not become widely available outside the Allied military before 1945. Later, Norman Heatley developed the back extraction technique for efficiently purifying penicillin in bulk. The chemical structure of penicillin was determined by Dorothy Crowfoot Hodgkin in 1945. Purified penicillin displayed potent antibacterial activity against a wide range of bacteria and had low toxicity in humans. Furthermore, its activity was not inhibited by biological constituents such as pus, unlike the synthetic sulfonamides. The discovery of such a powerful antibiotic was unprecedented, and the development of penicillin led to renewed interest in the search for antibiotic compounds with similar efficacy and safety. For their successful development of penicillin, which Fleming had accidentally discovered but could not develop himself, as a therapeutic drug, Ernst Chain and Howard Florey shared the 1945 Nobel Prize in Medicine with Fleming. Florey credited Dubos with pioneering the approach of deliberately and systematically searching for antibacterial compounds, which had led to the discovery of gramicidin and had revived Florey's research in penicillin.

Question: When was penicillin G first purified? Question: When did penicillin G become available outside of military use? Question: Who came up with a way to quickly produce penicillin? Question: Who discovered the chemical structure of penicillin? Question: When was the chemical make-up of penicillin discovered?

gq: Vaccines rely on immune modulation or augmentation. Vaccination either excites or reinforces the immune competence of a host to ward off infection, leading to the activation of macrophages, the production of antibodies, inflammation, and other classic immune reactions. Antibacterial vaccines have been responsible for a drastic reduction in global bacterial diseases. Vaccines made from attenuated whole cells or lysates have been replaced largely by less reactogenic, cell-free vaccines consisting of purified components, including capsular polysaccharides and their conjugates, to protein carriers, as well as inactivated toxins (toxoids) and proteins.

Question: What do vaccines need to work? Question: What type of vaccines have saved millions of lives? Question: What types of vaccines have been phased out?

gq: Phage therapy is another option that is being looked into for treating resistant strains of bacteria. The way that researchers are doing this is by infecting pathogenic bacteria with their own viruses, more specifically, bacteriophages. Bacteriophages, also known simply as phages, are precisely bacterial viruses that infect bacteria by disrupting pathogenic bacterium lytic cycles. By disrupting the lytic cycles of bacterium, phages destroy their metabolism, which eventually results in the cell's death. Phages will insert their DNA into the bacterium, allowing their DNA to be transcribed. Once their DNA is transcribed the cell will proceed to make new phages and as soon as they are ready to be released, the cell will lyse. One of the worries about using phages to fight pathogens is that the phages will infect "good" bacteria, or the bacteria that are important in the everyday function of human beings. However, studies have proven that phages are very specific when they target bacteria, which makes researchers confident that bacteriophage therapy is the definite route to defeating antibiotic resistant bacteria.

Question: What has been talked about to treat resistant bacteria? Question: How have researchers been doing this? Question: What is a worry of using phages?

gq: In April 2013, the Infectious Disease Society of America (IDSA) reported that the weak antibiotic pipeline does not match bacteria's increasing ability to develop resistance. Since 2009, only 2 new antibiotics were approved in the United States. The number of new antibiotics approved for marketing per year declines continuously. The report identified seven antibiotics against the Gram-negative bacilli (GNB) currently in phase 2 or phase 3 clinical trials. However, these drugs do not address the entire spectrum of resistance of GNB. Some of these antibiotics are combination of existent treatments:

Question: What year did the Infectious Disease Society of America say that production of new antibiotics does not keep up with resistance? Question: How many antibiotics have been created in the last 7 years? Question: How many are in the pipelin to fight GNB?

gq: Possible improvements include clarification of clinical trial regulations by FDA. Furthermore, appropriate economic incentives could persuade pharmaceutical companies to invest in this endeavor. Antibiotic Development to Advance Patient Treatment (ADAPT) Act aims to fast track the drug development to combat the growing threat of 'superbugs'. Under this Act, FDA can approve antibiotics and antifungals treating life-threatening infections based on smaller clinical trials. The CDC will monitor the use of antibiotics and the emerging resistance, and publish the data. The FDA antibiotics labeling process, 'Susceptibility Test Interpretive Criteria for Microbial Organisms' or 'breakpoints', will provide accurate data to healthcare professionals. According to Allan Coukell, senior director for health programs at The Pew Charitable Trusts, "By allowing drug developers to rely on smaller datasets, and clarifying FDA's authority to tolerate a higher level of uncertainty for these drugs when making a risk/benefit calculation, ADAPT would make the clinical trials more feasible."

Question: Who regulates antibiotic approval? Question: What could help to spur pharmaceuticals to make new antibiotics? Question: What are resistant bacteria called in the media? Question: Who is a director at the Pew Charitable Trusts?

gq: Frédéric François Chopin (/ˈʃoʊpæn/; French pronunciation: ​[fʁe.de.ʁik fʁɑ̃.swa ʃɔ.pɛ̃]; 22 February or 1 March 1810 – 17 October 1849), born Fryderyk Franciszek Chopin,[n 1] was a Polish and French (by citizenship and birth of father) composer and a virtuoso pianist of the Romantic era, who wrote primarily for the solo piano. He gained and has maintained renown worldwide as one of the leading musicians of his era, whose "poetic genius was based on a professional technique that was without equal in his generation." Chopin was born in what was then the Duchy of Warsaw, and grew up in Warsaw, which after 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising.

Question: What year was Chopin born? Question: In what year was Chopin born? Question: When did Chopin die? Question: What year did Chopin die? Question: What was Chopin's full name? Question: What was Frédéric's nationalities? Question: In what era was Frédéric active in? Question: What era was Chopin active during? Question: Chopin was active during what era? Question: In what era of music did Chopin compose? Question: For what instrument did Frédéric write primarily for? Question: What instrument did he mostly compose for? Question: The majority of Chopin's compositions were for what instrument? Question: In what area was Frédéric born in? Question: Where did Chopin grow up? Question: In what city was Chopin born and raised? Question: At what age did Frédéric depart from Poland? Question: At what age did Chopin leave Poland? Question: How old was Chopin when he left Poland?

gq: At the age of 21 he settled in Paris. Thereafter, during the last 18 years of his life, he gave only some 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and teaching piano, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his musical contemporaries, including Robert Schumann. In 1835 he obtained French citizenship. After a failed engagement to Maria Wodzińska, from 1837 to 1847 he maintained an often troubled relationship with the French writer George Sand. A brief and unhappy visit to Majorca with Sand in 1838–39 was one of his most productive periods of composition. In his last years, he was financially supported by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. Through most of his life, Chopin suffered from poor health. He died in Paris in 1849, probably of tuberculosis.

Question: At what age did Frédéric move to Paris? Question: At what age did Chopin move to Paris? Question: Where did he end up living when he was 21? Question: How many public performances was Frédéric estimated to have given during the remainder of his life? Question: How many public shows did he perform during the last years of his life? Question: During the last 18 years he lived about how many times did Chopin perform in public? Question: What other composer did Chopin develop a friendship with? Question: In what year did Frédéric obtain citizenship in France? Question: What year did he gain citizenship in France? Question: What year did Chopin become a citizen of France? Question: In what year did Chopin become a French citizen? Question: What is the name of the woman he had a relationship with from 1837-847? Question: In what area had Frédéric's most productive period of composition taken place? Question: In the last years of his life who was the person that supported him financially? Question: Who gave Chopin money in the last years of his life? Question: What was Frédéric's most likely cause of death? Question: What was the likely cause of death for Chopin?

gq: All of Chopin's compositions include the piano. Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some songs to Polish lyrics. His keyboard style is highly individual and often technically demanding; his own performances were noted for their nuance and sensitivity. Chopin invented the concept of instrumental ballade. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, études, impromptus, scherzos, preludes and sonatas, some published only after his death. Influences on his compositional style include Polish folk music, the classical tradition of J. S. Bach, Mozart and Schubert, the music of all of whom he admired, as well as the Paris salons where he was a frequent guest. His innovations in style, musical form, and harmony, and his association of music with nationalism, were influential throughout and after the late Romantic period.

Question: What instrument did every composition by Frédéric include? Question: Which instrument do every one of his compositions include? Question: What instrument is involved in all of Chopin's work? Question: What instrument was all of Chopin's compositions written for? Question: Chopin wrote some music to lyrics, what language were the lyrics? Question: Chopin composed several songs to lyrics of what language? Question: What language were some songs written in that Chopin wrote music for? Question: What features marked Frédéric's performance style and made them unique? Question: What are two things Chopin's performances were known for? Question: Chopin's performances were known for what? Question: What concept was Frédéric credited with creating? Question: What concept did Chopin create? Question: Whose music did Frédéric admire the most and thus provide influence on his work? Question: What three composers influenced Chopin's work? Question: What three composers did Chopin take inspiration from? Question: What establishments did Frédéric frequently visit in Paris that influenced his career? Question: Of what venue was Chopin an often invited guest?

gq: In his native Poland, in France, where he composed most of his works, and beyond, Chopin's music, his status as one of music's earliest superstars, his association (if only indirect) with political insurrection, his love life and his early death have made him, in the public consciousness, a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying degrees of historical accuracy.

Question: Chopin is a native of what country? Question: Where did Chopin create the majority of his compositions? Question: Where did Chopin create most of his works? Question: What was the degree of Frédéric's association with political insurrection? Question: He had a non-direct association with what? Question: Chopin was indirectly related to what? Question: What parts of Frédéric's personal life influenced his legacy as a leading symbol of the era? Question: In which era was Frédéric leave a legacy of as a leading symbol? Question: Chopin is closely associated with what era? Question: Chopin is considered a prominent symbol of what? Question: In what forms of media has Frédéric been the subject of?

gq: Fryderyk Chopin was born in Żelazowa Wola, 46 kilometres (29 miles) west of Warsaw, in what was then the Duchy of Warsaw, a Polish state established by Napoleon. The parish baptismal record gives his birthday as 22 February 1810, and cites his given names in the Latin form Fridericus Franciscus (in Polish, he was Fryderyk Franciszek). However, the composer and his family used the birthdate 1 March,[n 2] which is now generally accepted as the correct date.

Question: In what village was Frédéric born in? Question: Where was Chopin born? Question: Chopin was actually born outside of Warsaw at what location? Question: How many miles was the village Frédéric born in located to the west of Warsaw? Question: Who was responsible for the creation of the Duchy of Warsaw? Question: The Duchy of Warsaw was created by whom? Question: What famous French leader had established the Polish state at this time? Question: On what date was Frédéric born on? Question: When was his birthday recorded as being? Question: Chopin's birth is recorded as when? Question: What was the latin form of Frédéric's full name? Question: Chopin's given names in Latin are what? Question: What is the Latin form of Chopin's name? Question: Despite the birthdate given by parish baptismal, what date is given by the composer and his family instead? Question: What birth date is now considered as his actual birthday? Question: What birth date is now considered correct for Chopin?

gq: Fryderyk's father, Nicolas Chopin, was a Frenchman from Lorraine who had emigrated to Poland in 1787 at the age of sixteen. Nicolas tutored children of the Polish aristocracy, and in 1806 married Justyna Krzyżanowska, a poor relative of the Skarbeks, one of the families for whom he worked. Fryderyk was baptized on Easter Sunday, 23 April 1810, in the same church where his parents had married, in Brochów. His eighteen-year-old godfather, for whom he was named, was Fryderyk Skarbek, a pupil of Nicolas Chopin. Fryderyk was the couple's second child and only son; he had an elder sister, Ludwika (1807–55), and two younger sisters, Izabela (1811–81) and Emilia (1812–27). Nicolas was devoted to his adopted homeland, and insisted on the use of the Polish language in the household.

Question: What was the given name of Chopin's father? Question: What was Chopin's father's first name? Question: Where was Chopin's father from? Question: From where id Chopin's father emigrate from? Question: What language did Frédéric's father, Nicolas, insist on using in the household? Question: Who did Frédéric's father marry in 1806? Question: Chopin's father married who? Question: On what date was Frédéric baptised? Question: What is the name of Chopin's godfather? Question: What is the name of Chopin's eldest sister? Question: What is Chopin's older sister's name?

gq: In October 1810, six months after Fryderyk's birth, the family moved to Warsaw, where his father acquired a post teaching French at the Warsaw Lyceum, then housed in the Saxon Palace. Fryderyk lived with his family in the Palace grounds. The father played the flute and violin; the mother played the piano and gave lessons to boys in the boarding house that the Chopins kept. Chopin was of slight build, and even in early childhood was prone to illnesses.

Question: During what month did Frédéric move to Warsaw with his family? Question: When did Chopin's family move to Warsaw? Question: How old was Chopin when his family moved to Warsaw? Question: What language did Frédéric's father teach after they had moved to Warsaw? Question: What language did Chopin's father teach? Question: Where did Chopin's father get a teaching position? Question: Where did Chopin live with his family in Warsaw? Question: Where did Frédéric live with his family while they were in Warsaw? Question: What two instruments did Frédéric's father play during this time? Question: What instruments did Chopin's father play? Question: What two instruments did Chopin's father play? Question: What instrument did Chopin's mother teach? Question: What instrument did Chopin's mother teach at the boarding house? Question: What was Frédéric prone to during early childhood as a result of his slight build?

gq: Fryderyk may have had some piano instruction from his mother, but his first professional music tutor, from 1816 to 1821, was the Czech pianist Wojciech Żywny. His elder sister Ludwika also took lessons from Żywny, and occasionally played duets with her brother. It quickly became apparent that he was a child prodigy. By the age of seven Fryderyk had begun giving public concerts, and in 1817 he composed two polonaises, in G minor and B-flat major. His next work, a polonaise in A-flat major of 1821, dedicated to Żywny, is his earliest surviving musical manuscript.

Question: During what years did Chopin receive instruction from Żywny? Question: Who was Frédéric's first professional teacher in music? Question: Who was Chopin's initial piano teacher? Question: What is the name of Chopin's first music teacher that was not an amateur musician? Question: Who was Chopin's earliest piece of music, that there is a record of, dedicated to? Question: Which sister did Frédéric play duets with sometimes while being tutored at this time? Question: Which of his sisters did Chopin sometimes duet with? Question: Which of Chopin's sisters would play music with him? Question: What year did Chopin compose his first work? Question: At what age did Frédéric start giving public concerts? Question: At what age did Chopin start playing publicly? Question: How old was Chopin when he began to perform for the public? Question: What did Frédéric compose during the year of 1817? Question: What is the earliest surviving musical notation composed by Frédéric?

gq: In 1817 the Saxon Palace was requisitioned by Warsaw's Russian governor for military use, and the Warsaw Lyceum was reestablished in the Kazimierz Palace (today the rectorate of Warsaw University). Fryderyk and his family moved to a building, which still survives, adjacent to the Kazimierz Palace. During this period, Fryderyk was sometimes invited to the Belweder Palace as playmate to the son of the ruler of Russian Poland, Grand Duke Constantine; he played the piano for the Duke and composed a march for him. Julian Ursyn Niemcewicz, in his dramatic eclogue, "Nasze Przebiegi" ("Our Discourses", 1818), attested to "little Chopin's" popularity.

Question: In what year was the Saxon Palace taken by the Russian governor for use regarding the military? Question: The Saxon Palace was taken over for military use in what year? Question: What building was Frédéric's new home adjacent to? Question: The Warsaw Lyceum was moved to where? Question: What establishment today contains what was known as the Warsaw Lyceum during that time? Question: What palace was Frédéric sometimes invited to as a companion of the ruler's son? Question: What was the place Chopin was invited to as a friend of ruler's son? Question: As a child Chopin was invited to play with the son of whom? Question: What is the title and name of the ruler whose son Chopin was friends with? Question: What did Chopin create for Grand Duke Constantine? Question: What type of musical piece did Chopin compose for his friend's ruling father? Question: In one of his works who affirmed the popularity of Chopin as a child? Question: Who wrote in 1818 about the popularity of Chopin? Question: What short poem spoke of Frédéric's popularity as a child?

gq: From September 1823 to 1826 Chopin attended the Warsaw Lyceum, where he received organ lessons from the Czech musician Wilhelm Würfel during his first year. In the autumn of 1826 he began a three-year course under the Silesian composer Józef Elsner at the Warsaw Conservatory, studying music theory, figured bass and composition.[n 3] Throughout this period he continued to compose and to give recitals in concerts and salons in Warsaw. He was engaged by the inventors of a mechanical organ, the "eolomelodicon", and on this instrument in May 1825 he performed his own improvisation and part of a concerto by Moscheles. The success of this concert led to an invitation to give a similar recital on the instrument before Tsar Alexander I, who was visiting Warsaw; the Tsar presented him with a diamond ring. At a subsequent eolomelodicon concert on 10 June 1825, Chopin performed his Rondo Op. 1. This was the first of his works to be commercially published and earned him his first mention in the foreign press, when the Leipzig Allgemeine Musikalische Zeitung praised his "wealth of musical ideas".

Question: During what years did Frédéric visit the Warsaw Lyceum for lessons? Question: Who taught Chopin to play the organ? Question: Who gave Chopin instruction on how to play the organ? Question: Who was Frédéric a student of involving music theory starting in 1826? Question: Chopin had three years of lessons with whom? Question: What was the name of the teacher of Chopin's three year course that began in the fall of 1826? Question: What was the name of the mechanical organ Frédéric performed on during 1825? Question: What instrument did Chopin play in front of Tsar Alexander I? Question: What is th ename of the mechanical organ Chopin played in 1825? Question: Which tsar did Frédéric perform for due to his success in previous concerts? Question: What did Tsar Alexander I give to Chopin? Question: What gift did Tsar Alexander I give to Chopin? Question: On what date was Frédéric's first performance that earned international esteem? Question: What was the first of Chopin's works to gain international renown? Question: What is the title of his first commercially successful work?

gq: During 1824–28 Chopin spent his vacations away from Warsaw, at a number of locales.[n 4] In 1824 and 1825, at Szafarnia, he was a guest of Dominik Dziewanowski, the father of a schoolmate. Here for the first time he encountered Polish rural folk music. His letters home from Szafarnia (to which he gave the title "The Szafarnia Courier"), written in a very modern and lively Polish, amused his family with their spoofing of the Warsaw newspapers and demonstrated the youngster's literary gift.

Question: In which village did Frédéric first experience rural Polish folk music? Question: Where did Chopin spend his vacation in 1824 and 1825? Question: Who was Frédéric a guest of during his visit of Szafarnia in 1824 and 1825? Question: During his vacation in 1824 and 1825 who did Chopin spend his vacation with? Question: What was the name of the person who hosted Chopin as a guest when he discovered Polish rural folk music? Question: What type of music did Chopin discover for the first time while staying in Szafarnia? Question: What was the title chopin gave of some spoof letters he wrote? Question: To whom did Frédéric write letters to during his stay in Szafarnia? Question: What did Frédéric write parodies of in his letters?

gq: In 1827, soon after the death of Chopin's youngest sister Emilia, the family moved from the Warsaw University building, adjacent to the Kazimierz Palace, to lodgings just across the street from the university, in the south annex of the Krasiński Palace on Krakowskie Przedmieście,[n 5] where Chopin lived until he left Warsaw in 1830.[n 6] Here his parents continued running their boarding house for male students; the Chopin Family Parlour (Salonik Chopinów) became a museum in the 20th century. In 1829 the artist Ambroży Mieroszewski executed a set of portraits of Chopin family members, including the first known portrait of the composer.[n 7]

Question: During what year did Frédéric's youngest sister, Emilia, pass away? Question: What year did Chopin's sister Emilia die? Question: Who in Chopin's family died shortly before they moved in 1827? Question: What street did Frédéric's family move to after the death of his youngest sister? Question: What year did Frédéric leave Warsaw after moving with his family to the south annex of Krasiński Palace? Question: What year did Chopin leave Warsaw? Question: What year did Chopin leave Warsaw? Question: What was the Chopin family's business? Question: Was the Chopin family boarding house for male or female students? Question: What was the Chopin boarding house called in English? Question: What did the Chopin's family business become in the 20th century? Question: Which artist created the first known portrait of Frédéric? Question: What artist painted the Chopin family? Question: What artist made portraits of the Chopin family in 1829?

gq: Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."

Question: How many boarders of his family's boarding house became intimate friends with Chopin? Question: What four boys from his family's boarding house became friends with Chopin? Question: To whom did Chopin reveal in letters which parts of his work were about the singing student he was infatuated with? Question: Of the individuals that became intimate with Frédéric during their stay at the family apartments, which two became part of Frédéric's social environment in Paris? Question: Which two of Chopin's friends became part of his Paris milieu? Question: Which singer was cited specifically as someone Frédéric was attracted to? Question: Which singer did Chopin become fascinated with? Question: What was the name of the singing student Chopin was attracted to? Question: Which of Chopin's works was unknowingly dedicated to Gladkowska? Question: What musical piece had a Larghetto dedicated to the female singing student Chopin was infatuated with? Question: When did Chopin receive his last Conservatory report?

gq: In September 1828 Chopin, while still a student, visited Berlin with a family friend, zoologist Feliks Jarocki, enjoying operas directed by Gaspare Spontini and attending concerts by Carl Friedrich Zelter, Felix Mendelssohn and other celebrities. On an 1829 return trip to Berlin, he was a guest of Prince Antoni Radziwiłł, governor of the Grand Duchy of Posen—himself an accomplished composer and aspiring cellist. For the prince and his pianist daughter Wanda, he composed his Introduction and Polonaise brillante in C major for cello and piano, Op. 3.

Question: When did Chopin visit Berlin? Question: What year did Chopin visit Berlin while still a student? Question: What did the person who Chopin went with to Berlin do for his work? Question: Who did Frédéric visit Berlin with in September 1828? Question: With whom did Chopin go to Berlin? Question: Who did Chopin go to Berlin with? Question: Which opera director did Frédéric see works of during his stay in Berlin? Question: While in Berlin he saw the operatic work of who? Question: Who directed the operas they enjoyed in Berlin? Question: What year did Chopin return to Berlin? Question: Who was Frédéric a guest of during his stay in Berlin in 1829? Question: In 1829 on a trip back to Berlin Chopin was a guest of who? Question: What piece did Frédéric create specifically for the prince and the prince's daughter, Wanda? Question: What piece did Chopin create for Prince Antoni?

gq: Back in Warsaw that year, Chopin heard Niccolò Paganini play the violin, and composed a set of variations, Souvenir de Paganini. It may have been this experience which encouraged him to commence writing his first Études, (1829–32), exploring the capacities of his own instrument. On 11 August, three weeks after completing his studies at the Warsaw Conservatory, he made his debut in Vienna. He gave two piano concerts and received many favourable reviews—in addition to some commenting (in Chopin's own words) that he was "too delicate for those accustomed to the piano-bashing of local artists". In one of these concerts, he premiered his Variations on Là ci darem la mano, Op. 2 (variations on an aria from Mozart's opera Don Giovanni) for piano and orchestra. He returned to Warsaw in September 1829, where he premiered his Piano Concerto No. 2 in F minor, Op. 21 on 17 March 1830.

Question: Who did Chopin hear play violin in 1829 that prompted him to write a composisition? Question: What did Frédéric compose after hearing Niccolò Paganini perform on the violin? Question: What did Chopin compose after hearing Niccolo Paganini? Question: During what month did Frédéric make his first appearance in Vienna? Question: How many weeks after completing school was it before Chopin made his public debut? Question: Where did Chopin debut after completing his studies? Question: Where did Chopin make his debut after completing his education? Question: How many piano concerts did Frédéric perform in Vienna during this time? Question: How many public performances did Chopin do where he made his debut after completing his education? Question: Why did some critics say that Chopin was too delicate? Question: When did Chopin return to Warsaw? Question: What piece did Chopin debut after returning to Warsaw? Question: On what date did Frédéric give his first performance of Piano Concerto No. 2 in F minor, Op. 21?

gq: 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."

Question: What geographicla region was opened for Chopin due to his composing and performances? Question: On what date did Frédéric begin his journey into Western Europe? Question: What year did the uprising begin in Warsaw? Question: What historian commented that the events involving Frédéric's friend in Poland contributed to his maturing? Question: Who said that Chopin set out "into the wide world, with no very clearly defined aim, forever?" Question: Who did Chopin leave for Austria with? Question: When Chopin started to take his music to the world, what is the last name of the person who went with him to Austria? Question: Which country did Frédéric go to first after setting out for Western Europe? Question: Where did Chopin intend to go after Austria? Question: Woyciechowski left Chopin to enlist in what? Question: In what year did his companion Woyciechowski depart to Poland to enlist for the uprising in Warsaw? Question: What were the words Chopin wrote to a friend when he was alone and homesick? Question: What year did Chopin learn that the uprising in Warsaw was crushed?

gq: 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.

Question: When did Chopin reach Paris? Question: After 1831, what country did Chopin never return to? Question: What event was Frédéric a part of when he arrived in Paris during the later part of September in 1831? Question: What nationality is stated as the one Frédéric felt most identified by? Question: By not going back to Poland Chopin became part of what? Question: Due to the numbers of expatriates of Poland after the uprising, what did it become to be known as? Question: What country's passport did he have from 1835? Question: What version of Frédéric's birth name did he begin using after arriving in France? Question: What language was Chopin never completely at ease speaking? Question: In what year did Frédéric officially acquire French citizenship? Question: In what year did Chopin become a French citizen? Question: What were the two kinds of relationships stated as Frédéric having with his fellow Poland natives in exile? Question: What is the name of Chopin's biographer? Question: What biographer of Chopin wrote that Chopin never considered himself French?

gq: 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.

Question: In what city did Frédéric achieve celebrity status? Question: What people did Chopin meet while in Paris? Question: Who was the principal of the Polish Literary Society that Frédéric became acquainted with? Question: What poet did Chopin use verses from for songs? Question: What was the name of the poet Chopin became acquainted with in Paris? Question: What position did the poet who Chopin knew in Paris hold? Question: What did Frédéric create from verses of the poet Adam Mickiewicz?

gq: 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".

Question: What nationality were the two friends who served as a pivotal influence in Frédéric's life while in Paris? Question: Where were Chopin and Fontana students together? Question: Which friend of Frédéric failed to achieve success in England? Question: Who is stated as a jack of all trades in service to Frédéric? Question: Which friend took on the role of several jobs to help Chopin including copyist? Question: Julian Fontana tried to find his way where before moving to Paris? Question: Where did Julian Fontana fail to get established? Question: Who was Frédéric's trusted adviser while in Paris? Question: Who did Chopin know that became rich in Paris? Question: Which friend of Chopin became like an older brother to him? Question: What familial role was Albert Grzymała compared to in regards to Frédéric?

gq: 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.

Question: When did Chopin receive his first major endorsement from Robert Schumann? Question: Who gave Frédéric his first significant public approval in regards to his compositions? Question: From whom did Chopin receive his first big endorsement? Question: On what date did Frédéric give his first performance at the Salle Pleyel? Question: When did Chopin debut at Salle Pleyel ? Question: What is stated as a hindrance for Frédéric's ability to perform in large concert spaces? Question: What did Chopin realize was not ideal for larger spaces after his first successful concert in Paris? Question: What affluent family did Chopin gain a patronage from? Question: Who did Frédéric rely upon financially before earning a great income from his works? Question: Once Chopin stopped performing concerts, how did he earn his income?

gq: 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.

Question: Chopin gave a yearly performance where? Question: What was Frédéric's favorite environment to perform in? Question: Where did Chopin prefer to play for people? Question: On March 23, 1833, who headlined and performed with Chopin at a concert? Question: What instrument did Frédéric play in a performance on 23 March 1833? Question: What is the name of Chopin's pupil who performed with him? Question: Chopin worked with Liszt on what piece? Question: In 1833 with whom with Chopin work to get his music published? Question: Who did Chopin contract with for publishing his music?

gq: 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.

Question: Where did Chopin meet Felix Mendelssohn? Question: Who did Chopin attend the Lower Rhenish Music Festival with? Question: Who did Frédéric meet in the spring of 1834 at the Lower Rhenish Music Festival? Question: Who did Chopin meet at a music festival early in 1834? Question: Where did Chopin and Hiller go with the person Chopin met in the spring of 1834? Question: What two activities did Frédéric do while visiting for a day in Düsseldorf with Mendelssohn and Hiller? Question: Who was the director of the Academy of Art that Frédéric met while in Düsseldorf? Question: What was Friedrich Wilhelm Schadow position? Question: Where were Frédéric's parents located at when he saw them for the final time in 1835? Question: In 1835 where did Chopin and his parents visit? Question: What was the first name of the girl Chopin proposed to? Question: When did Chopin propose marriage to Maria Wodziński? Question: Who was Maria's mother?

gq: 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."

Question: Who is stated as being in attendance of Frédéric's first performance at the Salle Pleyel on 26 February 1832? Question: Who was the recipient of Frédéric's letter he wrote on 12 December 1831? Question: Which friend received the letter in which Chopin referenced Liszt? Question: What are the three names stated in Frédéric's letter that he had shown interest and curiosity in? Question: What was the date that LIszt first saw Chopin perform? Question: Where was Chopin's first concert in Paris held?

gq: 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.

Question: What address did Frédéric live at during his stay in Paris? Question: When Liszt lived close to Chopin, where did he call home? Question: How far down the road did Liszt live from Frédéric during this time? Question: How many times did Frédéric and Liszt collaborate in performances during the years of 1833 to 1841? Question: How many times did Chopin and Liszy perform together in public? Question: When was the first time Liszt and Chopin performed together? Question: For whose benefit was the first of these concerts performed for on 2 April 1833? Question: Who did the first concert of Chopin and Liszt benefit? Question: What was the charity that Liszt and Chopin last performed for? Question: At which two establishments was the last of these performances conducted at on 25 and 26 April 1841? Question: Where did Liszt and Chopin last perform together?

gq: 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.

Question: What term describes the qualities of the relationship between Frédéric and Liszt? Question: Who did Chopin dedicate the Op. 10 Études to? Question: Who apologized to Chopin for adding embellishments to a musical piece he perforemed that was written by Chopin? Question: What three qualities of Liszt are stated to have captivated Frédéric? Question: What piece did Chopin dedicate to Liszt? Question: Who did Chopin write to displaying his desire to take away a performers ability to play his music? Question: What did Frédéric receive from Liszt when the latter performed a nocturne with certain embellishments added? Question: What did Frédéric introduce Liszt as in when referring to him in his letters up to 1848? Question: What was the name of Liszt's mistress? Question: What was the name of Liszt's mistress? Question: What was the name of the man who biogrpahers think Chopin was concerned about Liszt's growing relationship with?

gq: 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.

Question: Who was the host of the gathering where Frédéric was introduced to George Sand? Question: Who hosted the party whre Chopin met George Sand? Question: What is the name of the author Chopin met at a gathering put on by Marie d'Agoult? Question: What year did Maria Wodzińska's mother tell Chopin that he likely would not marry her daughter? Question: What was a possible reason for Chopin's failed engagement to Maria Wodzińska? Question: What did Frédéric label the place in which he placed Maria and her mother's letters about the unlikely marriage? Question: What did Chopin write on the box of letters from Maria and her mother? Question: What did Chopin write on the package that contained letters from Maria and her mother? Question: Who did George Sand write to when admitting having a strong affection for Frédéric? Question: Who did Sand confide to in a letter about her feelings for Chopin in June, 1838?

gq: In June 1837 Chopin visited London incognito in the company of the piano manufacturer Camille Pleyel where he played at a musical soirée at the house of English piano maker James Broadwood. On his return to Paris, his association with Sand began in earnest, and by the end of June 1838 they had become lovers. Sand, who was six years older than the composer, and who had had a series of lovers, wrote at this time: "I must say I was confused and amazed at the effect this little creature had on me ... I have still not recovered from my astonishment, and if I were a proud person I should be feeling humiliated at having been carried away ..." The two spent a miserable winter on Majorca (8 November 1838 to 13 February 1839), where, together with Sand's two children, they had journeyed in the hope of improving the health of Chopin and that of Sand's 15-year-old son Maurice, and also to escape the threats of Sand's former lover Félicien Mallefille. After discovering that the couple were not married, the deeply traditional Catholic people of Majorca became inhospitable, making accommodation difficult to find. This compelled the group to take lodgings in a former Carthusian monastery in Valldemossa, which gave little shelter from the cold winter weather.

Question: What city did Frédéric visit in June 1837? Question: With whom did Chopin go to London with in 1837? Question: What was James Broadwood's occupation? Question: What event occurred on Frédéric's return to Paris? Question: When did Chopin and Sand become lovers? Question: How many years older was George Sand compared to Frédéric? Question: How much older was George Sands than Chopin? Question: What adjective is used to describe Frédéric and Sand's time together during the winter of 1838? Question: Where did Chopin and Sand go between November 1838 and February 1839? Question: Who joined Chopin and Sand on their trip to Majorca? Question: During Sands and Chopin's visit to Majorca who were they fleeing? Question: One of the reasons Chopin and Sand went to Majorca was to escape the threats of who? Question: After it became known that Sands and Chopin were unmarried where did they end up taking up shelter? Question: Where did Chopin and Sand stay in Valldemossa? Question: Where did Frédéric and Sand venture to after Majorca became unlivable when it was discovered they were not married?

gq: On 3 December, Chopin complained about his bad health and the incompetence of the doctors in Majorca: "Three doctors have visited me ... The first said I was dead; the second said I was dying; and the third said I was about to die." He also had problems having his Pleyel piano sent to him. It finally arrived from Paris in December. Chopin wrote to Pleyel in January 1839: "I am sending you my Preludes [(Op. 28)]. I finished them on your little piano, which arrived in the best possible condition in spite of the sea, the bad weather and the Palma customs." Chopin was also able to undertake work on his Ballade No. 2, Op. 38; two Polonaises, Op. 40; and the Scherzo No. 3, Op. 39.

Question: How many doctors visited Chopin? Question: What month did Chopin's piano arrive? Question: What month did Chopin's Pleyel piano arrive in Majorca? Question: What did Chopin compalin about? Question: How many doctors saw Frédéric by the 3rd of December? Question: What did Chopin have a hard time getting delivered to Majorca? Question: Who did Chopin send his Preludes to? Question: What did Frédéric have trouble playing as a result of his growing illness? Question: What condition did Frédéric describe the piano that arrived to him through many dangerous obstacles?

gq: Although this period had been productive, the bad weather had such a detrimental effect on Chopin's health that Sand determined to leave the island. To avoid further customs duties, Sand sold the piano to a local French couple, the Canuts.[n 8] The group traveled first to Barcelona, then to Marseilles, where they stayed for a few months while Chopin convalesced. In May 1839 they headed for the summer to Sand's estate at Nohant, where they spent most summers until 1846. In autumn they returned to Paris, where Chopin's apartment at 5 rue Tronchet was close to Sand's rented accommodation at the rue Pigalle. He frequently visited Sand in the evenings, but both retained some independence. In 1842 he and Sand moved to the Square d'Orléans, living in adjacent buildings.

Question: What had a negative effect on Chopin's health? Question: What is stated as having a negative effect on Frédéric's health during this productive time? Question: Who did Sand sell Chopin's piano to? Question: Who did Sand sell the piano to? Question: What culture of French people did Sand sell the piano to? Question: What city did the group travel to in order to help Frédéric recover? Question: Where did the group travel to after Barcelona? Question: Where did they travel after leaving Barcelona? Question: Where was Sand's estate located where they stayed for the summers until 1846? Question: Where was Sand's home? Question: Where did they spend most summers until 1846? Question: After returning to Paris where was Chopin's apartment? Question: Where did Frédéric and Sand move to in 1842 in buildings next to each other? Question: In 1842 where did Chopin and Sand move? Question: Where did Chopin and Sand move to in 1842?

gq: At the funeral of the tenor Adolphe Nourrit in Paris in 1839, Chopin made a rare appearance at the organ, playing a transcription of Franz Schubert's lied Die Gestirne. On 26 July 1840 Chopin and Sand were present at the dress rehearsal of Berlioz's Grande symphonie funèbre et triomphale, composed to commemorate the tenth anniversary of the July Revolution. Chopin was reportedly unimpressed with the composition.

Question: At whose funeral did Chopin play in 1839? Question: Chopin attended the funeral of who in 1839? Question: What instrument did Chopin play at Adolphe Nourrit's funeral? Question: What piece did Chopin play at Adolphe Nourrit's funeral? Question: What did Chopin play at the funeral? Question: What event were Chopin and Sand at on 26 July 1840? Question: What was the dress rehearsal for? Question: What anniversary was the July Revolution that Sand and Chopin were present at a dress rehearsal for? Question: It was in commemoration of the tenth anniversary of what?

gq: During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his Polonaise in A-flat major, Op. 53. Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

Question: What is the example given of a work produced by Frédéric during calm summers at Nohant? Question: Who were two visitors to Chopin while in Nohant? Question: Who wrote a letter on June 7, 1842 about a stay in Nohant? Question: Which of the two people that visited Chopin were tutored by him on piano? Question: What did Chopin help Pauline Viardot with? Question: What two things did Chopin advise Viardot on? Question: On what date did Delacroix write a letter based on his visit at Nohant?

gq: From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzymała: "I have to lie in bed all day long, my mouth and tonsils are aching so much." He was forced by illness to decline a written invitation from Alkan to participate in a repeat performance of the Beethoven Seventh Symphony arrangement at Erard's on 1 March 1843. Late in 1844, Charles Hallé visited Chopin and found him "hardly able to move, bent like a half-opened penknife and evidently in great pain", although his spirits returned when he started to play the piano for his visitor. Chopin's health continued to deteriorate, particularly from this time onwards. Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy.

Question: When did Chopin show signs of serious illness? Question: In which year did Chopin begin experiencing a serious decline in health? Question: Starting in what year did Chopin start showing evidence of very bad health? Question: To whom did Chopin write a letter on 21 February 1842 about his agonizing pain? Question: Chopin wrote in 1842 that he had to lie in bed all day because what ached so much? Question: Chopin had to decline who's invitation in 1843 to particpate in a performance at Erard's? Question: What performance was Chopin forced to decline due to his increasing ill health? Question: What second performance did Chopin have to decline to play? Question: Who visited Chopin in 1844 and wrote about his inability to move? Question: What instrument did Chopin play for Charles Hallé when the latter visited him? Question: What has current day research suggested that Chopin was suffering from alongside his other illnesses? Question: What specific illness does modern evidence point to Chopin having? Question: Modern medicine indicates Chopin may have suffered from what condition?

gq: Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.

Question: When did Chopin's relationship with Sand start to deteriorate? Question: What was the name of Sand's daughter's fiance that contributed to deteriorating the relationship between Sand and Chopin? Question: Whom did Sand's daughter Solange become engaged to? Question: Who was the fortune hunter engaged to Sand's daughter? Question: What was the interest Sand had that Chopin showed apathy towards? Question: What role did Sand take on as her relationship with Chopin progressed? Question: What did Sand begin referring to Chopin as as his illness got worse? Question: In what year did Chopin and Sand ultimately bring their relationship to a close? Question: When did Chopin end his relationship with Sand? Question: What was the name of Sand's novel she published in reference to her situation with Chopin? Question: What novel did Sand write in 1847? Question: What was the name of Sand's book where the main characters can be interpreted as Sand and Chopin?

gq: Chopin's output as a composer throughout this period declined in quantity year by year. Whereas in 1841 he had written a dozen works, only six were written in 1842 and six shorter pieces in 1843. In 1844 he wrote only the Op. 58 sonata. 1845 saw the completion of three mazurkas (Op. 59). Although these works were more refined than many of his earlier compositions, Zamoyski opines that "his powers of concentration were failing and his inspiration was beset by anguish, both emotional and intellectual."

Question: How many pieces did Chopin write in 1841? Question: How many pieces did Chopin compose in 1842? Question: How many works did Chopin write in 1842? Question: How many works did Chopin write in 1843? Question: What was the name of the single piece of work he wrote in 1844? Question: What piece did Chopin compose in 1844? Question: How many works did Chopin write in 1845? Question: What can be said of these works compared to his work in other years even though the quantity was less?

gq: Chopin's public popularity as a virtuoso began to wane, as did the number of his pupils, and this, together with the political strife and instability of the time, caused him to struggle financially. In February 1848, with the cellist Auguste Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.

Question: Plitical strife, popularity decline, instability of era and fewer students caused Chopin to what? Question: In what month and year did Chopin give his final performance? Question: When did Chopin last perform? Question: With whom did Chopin perform his final concert? Question: Who did Chopin last perform with? Question: Who did Chopin have at his last Parisian concert in 1848? Question: What instrument did Auguste Franchomme play?

gq: Chopin's life was covered in a BBC TV documentary Chopin – The Women Behind The Music (2010), and in a 2010 documentary realised by Angelo Bozzolini and Roberto Prosseda for Italian television.

Question: What television station made a documentary on Chopin? Question: What television station released a documentary on Chopin? Question: What was the name of the documentary released by the BBC? Question: What was the title of the documentary the BBC released? Question: What two people created a documentary on Chopin for Italian tv? Question: What are the names of the two people that created a documentary for Italian tele vision? Question: Who did a work for Italian television about Chopin's life?

gq: Chopin's life and his relations with George Sand have been fictionalized in numerous films. The 1945 biographical film A Song to Remember earned Cornel Wilde an Academy Award nomination as Best Actor for his portrayal of the composer. Other film treatments have included: La valse de l'adieu (France, 1928) by Henry Roussel, with Pierre Blanchar as Chopin; Impromptu (1991), starring Hugh Grant as Chopin; La note bleue (1991); and Chopin: Desire for Love (2002).

Question: Chopins relations with whom have been fictionalized in movies? Question: What was the name of the 1945 movie released about Chopin? Question: What 1945 film was a fictionalized accounting of the relationship between Chopin and Sand? Question: What is the name of the actor who received and Oscar nomination for his role as Chopin? Question: Who portrayed Chopin in A Song to Remember? Question: What year was La valse de l'adieu released? Question: Who portrayed Chopin in the 1928 film, La valse de l'adieu? Question: Who starred as Chopin in Impromptu? Question: Who portrayed Chopin in the 1991 film, Impromptu?

gq: Possibly the first venture into fictional treatments of Chopin's life was a fanciful operatic version of some of its events. Chopin was written by Giacomo Orefice and produced in Milan in 1901. All the music is derived from that of Chopin.

Question: What is thought to be the first fictionalized work about Chopin? Question: What style is the fictionalized "Chopin" in? Question: Who is responsible for the first fictionalized account of Chopin's life? Question: Who wrote the fictionalized "Chopin?" Question: Where was the first fictionalized account of Chopin's life created? Question: Where was the fictionalized "Chopin" produced? Question: When was the first fictionalized account of Chopin's life? Question: When was the fictionalized "Chopin" produced?

gq: Chopin has figured extensively in Polish literature, both in serious critical studies of his life and music and in fictional treatments. The earliest manifestation was probably an 1830 sonnet on Chopin by Leon Ulrich. French writers on Chopin (apart from Sand) have included Marcel Proust and André Gide; and he has also featured in works of Gottfried Benn and Boris Pasternak. There are numerous biographies of Chopin in English (see bibliography for some of these).

Question: When did Ulrich do his sonnet on Chopin? Question: Leon Ulrich wrote about Chopin in what format? Question: What is the earliest sighting of Chopin in Polish Literature? Question: An 1830 sonnet was written about Chopin by what man? Question: Aside from George Sands what two French authors have written about Chopin? Question: In addition to Polish and French, what other language has numerous biogrpahies of Chopin?

gq: Numerous recordings of Chopin's works are available. On the occasion of the composer's bicentenary, the critics of The New York Times recommended performances by the following contemporary pianists (among many others): Martha Argerich, Vladimir Ashkenazy, Emanuel Ax, Evgeny Kissin, Murray Perahia, Maurizio Pollini and Krystian Zimerman. The Warsaw Chopin Society organizes the Grand prix du disque de F. Chopin for notable Chopin recordings, held every five years.

Question: On Chopin's 200th anniversary critics of what publication made recommendations on recordings of Chopin's work? Question: Upon Chopin's bicentenary, who recommended a list of who should perform Chopin? Question: Who organizes the Grand prix du disque de F. Chopin for notable Chopin recordings? Question: What is the name of the event that The Warsaw Chopin Society holds? Question: The Warsaw Chopin Society holds the Grand prix du disque de F. Chopin how often? Question: How often is the Grand prix du disque de F. Chopin for notable Chopin recordings held?

gq: The British Library notes that "Chopin's works have been recorded by all the great pianists of the recording era." The earliest recording was an 1895 performance by Paul Pabst of the Nocturne in E major Op. 62 No. 2. The British Library site makes available a number of historic recordings, including some by Alfred Cortot, Ignaz Friedman, Vladimir Horowitz, Benno Moiseiwitsch, Paderewski, Arthur Rubinstein, Xaver Scharwenka and many others. A select discography of recordings of Chopin works by pianists representing the various pedagogic traditions stemming from Chopin is given by Methuen-Campbell in his work tracing the lineage and character of those traditions.

Question: What has stated that every pianist in the recording era has used Chopin's music? Question: What year was the earliest Chopin recording created? Question: When did Pabst record his Chopin performance? Question: Who played the earlier known recording of Chopin's work? Question: What is the title of the earliest known recording of Chopin's work? Question: Who has given a discography of pianists' representation of Chopin's pedagogic style?

gq: Chopin's music remains very popular and is regularly performed, recorded and broadcast worldwide. The world's oldest monographic music competition, the International Chopin Piano Competition, founded in 1927, is held every five years in Warsaw. The Fryderyk Chopin Institute of Poland lists on its website over eighty societies world-wide devoted to the composer and his music. The Institute site also lists nearly 1,500 performances of Chopin works on YouTube as of January 2014.

Question: What is the world's oldest monographic music competition? Question: What is the name of the oldest music essay competition? Question: What year was the International Chopin Piano Competition founded? Question: When was the International Chopin Piano Competition established? Question: How often is the International Chopin Piano Competition held? Question: Where is the International Chopin Piano Competition held? Question: There are over 80 societies throughout the world that have been established because of Chopin and his music according to who? Question: How many known works of Chopin's music were on YouTube up to the beginning of 2014? Question: The Fryderyk Chopin Institute of Poland includes approximately how many recordings of Chopin's work from Youtube?

gq: Chopin's music was used in the 1909 ballet Chopiniana, choreographed by Michel Fokine and orchestrated by Alexander Glazunov. Sergei Diaghilev commissioned additional orchestrations—from Stravinsky, Anatoly Lyadov, Sergei Taneyev and Nikolai Tcherepnin—for later productions, which used the title Les Sylphides.

Question: What year was the Chopiniana released? Question: What is the name of the ballet that included Chopin's work? Question: Which 1909 ballet used Chopin's music? Question: Who choreographed a ballet which included Chopin's work? Question: Who choreographed Chopiniana? Question: Who orchestrated Chopiniana? Question: Who orchestrated Chopiniana? Question: Chopiniana later went by a different name, what is that name? Question: Sergei Diaghilev obtained additional orchestrations for subsequent productions, using which title?

gq: In April, during the Revolution of 1848 in Paris, he left for London, where he performed at several concerts and at numerous receptions in great houses. This tour was suggested to him by his Scottish pupil Jane Stirling and her elder sister. Stirling also made all the logistical arrangements and provided much of the necessary funding.

Question: What was happening in April 1848 in Paris? Question: Where did Chopin head to during the Revolution of 1848? Question: Where did Chopin go in the spring of 1848? Question: What was Jane Stirling's national heritage? Question: Who provided the majority of funds for his concert tour in London? Question: What two people suggested the 1848 tour? Question: Who paid for most of the 1848 music tour of Chopin?

gq: In London Chopin took lodgings at Dover Street, where the firm of Broadwood provided him with a grand piano. At his first engagement, on 15 May at Stafford House, the audience included Queen Victoria and Prince Albert. The Prince, who was himself a talented musician, moved close to the keyboard to view Chopin's technique. Broadwood also arranged concerts for him; among those attending were Thackeray and the singer Jenny Lind. Chopin was also sought after for piano lessons, for which he charged the high fee of one guinea (£1.05 in present British currency) per hour, and for private recitals for which the fee was 20 guineas. At a concert on 7 July he shared the platform with Viardot, who sang arrangements of some of his mazurkas to Spanish texts.

Question: Where did Chopin stay while in London? Question: What steet did Chopin stay on in London? Question: What company provided Chopin with a piano while in London? Question: What did Broadway provide for Chopin? Question: Where was Chopin's initial performance? Question: What two notable guests were present during his premiere performance at Stafford House? Question: What two dignitaries where at his first performance in London? Question: In addition to hearing him play, what else did people seek from Chopin in London? Question: What date did he perform with Viardot? Question: Who sang chopin arrangements on July 7 of the year Chopin was in London?

gq: In late summer he was invited by Jane Stirling to visit Scotland, where he stayed at Calder House near Edinburgh and at Johnstone Castle in Renfrewshire, both owned by members of Stirling's family. She clearly had a notion of going beyond mere friendship, and Chopin was obliged to make it clear to her that this could not be so. He wrote at this time to Grzymała "My Scottish ladies are kind, but such bores", and responding to a rumour about his involvement, answered that he was "closer to the grave than the nuptial bed." He gave a public concert in Glasgow on 27 September, and another in Edinburgh, at the Hopetoun Rooms on Queen Street (now Erskine House) on 4 October. In late October 1848, while staying at 10 Warriston Crescent in Edinburgh with the Polish physician Adam Łyszczyński, he wrote out his last will and testament—"a kind of disposition to be made of my stuff in the future, if I should drop dead somewhere", he wrote to Grzymała.

Question: Where did Jane Stirling invite Chopin? Question: Where was Chopin invited to in late summer? Question: What city did Chopin perform at on September 27? Question: What doctor was with Chopin when he wrote out his will? Question: What did Chopin write while staying with Doctor Adam Łyszczyński?

gq: Chopin made his last public appearance on a concert platform at London's Guildhall on 16 November 1848, when, in a final patriotic gesture, he played for the benefit of Polish refugees. By this time he was very seriously ill, weighing under 99 pounds (i.e. less than 45 kg), and his doctors were aware that his sickness was at a terminal stage.

Question: Where was Chopin's last public performance? Question: Where was Chopin's last public performance? Question: When did Chopin last appear in public? Question: Who were the beneficiaries of his last public concert? Question: What was the diagnosis of Chopin's health condition at this time?

gq: At the end of November, Chopin returned to Paris. He passed the winter in unremitting illness, but gave occasional lessons and was visited by friends, including Delacroix and Franchomme. Occasionally he played, or accompanied the singing of Delfina Potocka, for his friends. During the summer of 1849, his friends found him an apartment in Chaillot, out of the centre of the city, for which the rent was secretly subsidised by an admirer, Princess Obreskoff. Here in June 1849 he was visited by Jenny Lind.

Question: When did Chopin return to Paris? Question: Who did Chopin play for while she sang? Question: Chopin accompanied which singer for friends? Question: In 1849 where did Chopin live? Question: Where did his friends found Chopin an apartment in 1849? Question: Who was anonymously paying for Chopin's apartment? Question: Who paid for Chopin's apartment in Chaillot? Question: When did Jenny Lind visit Chopin?

gq: With his health further deteriorating, Chopin desired to have a family member with him. In June 1849 his sister Ludwika came to Paris with her husband and daughter, and in September, supported by a loan from Jane Stirling, he took an apartment at Place Vendôme 12. After 15 October, when his condition took a marked turn for the worse, only a handful of his closest friends remained with him, although Viardot remarked sardonically that "all the grand Parisian ladies considered it de rigueur to faint in his room."

Question: When did his sister come to stay with Chopin? Question: Which family member came to Paris in June 1849? Question: Who accompanied Chopin's sister to Paris? Question: Who gave Chopin a loan in September for an apartment? Question: In September 1849 where did Chopin take up residence? Question: What did Parisian ladies consider proper etiquette when in Chopin's room?

gq: Some of his friends provided music at his request; among them, Potocka sang and Franchomme played the cello. Chopin requested that his body be opened after death (for fear of being buried alive) and his heart returned to Warsaw where it rests at the Church of the Holy Cross. He also bequeathed his unfinished notes on a piano tuition method, Projet de méthode, to Alkan for completion. On 17 October, after midnight, the physician leaned over him and asked whether he was suffering greatly. "No longer", he replied. He died a few minutes before two o'clock in the morning. Those present at the deathbed appear to have included his sister Ludwika, Princess Marcelina Czartoryska, Sand's daughter Solange, and his close friend Thomas Albrecht. Later that morning, Solange's husband Clésinger made Chopin's death mask and a cast of his left hand.

Question: Why did Chopin request being cut open after his death? Question: Why did Chopin want his body opened when he died? Question: What did Chopin reply to the doctor when asked is he was suffering? Question: Who made Chopin's death mask? Question: What did Solange's husband make hours after Chopin's death along with his death mask?

gq: Chopin's disease and the cause of his death have since been a matter of discussion. His death certificate gave the cause as tuberculosis, and his physician, Jean Cruveilhier, was then the leading French authority on this disease. Other possibilities have been advanced including cystic fibrosis, cirrhosis and alpha 1-antitrypsin deficiency. However, the attribution of tuberculosis as principal cause of death has not been disproved. Permission for DNA testing, which could put the matter to rest, has been denied by the Polish government.

Question: What is listed as Chopin's official cause of death? Question: What was the cause of death on Chopin's death certificate? Question: What was the name of Chopin's doctor? Question: Who was Chopin's physician? Question: Other possiblities for Chopin's death include cirrhosis, alpha 1-antitrypsin deficiency, and what? Question: What has the Polish government not allowed to find true cause of death? Question: Who has denied testing Chopin's DNA to determine the actual cause of death?

gq: The funeral, held at the Church of the Madeleine in Paris, was delayed almost two weeks, until 30 October. Entrance was restricted to ticket holders as many people were expected to attend. Over 3,000 people arrived without invitations, from as far as London, Berlin and Vienna, and were excluded.

Question: Where was Chopin's funeral held? Question: Where was Chopin's funeral held? Question: How long was Chopin's funeral delayed? Question: How long was Chopin's funeral delayed? Question: How many people arrived for Chopin's funeral? Question: How many people arrived without an invitation?

gq: Mozart's Requiem was sung at the funeral; the soloists were the soprano Jeanne-Anais Castellan, the mezzo-soprano Pauline Viardot, the tenor Alexis Dupont, and the bass Luigi Lablache; Chopin's Preludes No. 4 in E minor and No. 6 in B minor were also played. The organist at the funeral was Louis Lefébure-Wély. The funeral procession to Père Lachaise Cemetery, which included Chopin's sister Ludwika, was led by the aged Prince Adam Czartoryski. The pallbearers included Delacroix, Franchomme, and Camille Pleyel. At the graveside, the Funeral March from Chopin's Piano Sonata No. 2 was played, in Reber's instrumentation.

Question: What song was sung at Chopin's funeral? Question: What Mozart song was sung at Chopin's funeral? Question: Who was the organist at Chopin's funeral? Question: Who was the organist for Chopin's funeral? Question: Which cemetery was Chopin buried in? Question: Who led Chopin's funeral procession? Question: Who led the funeral procession? Question: What was played at Chopin's graveside? Question: What was played at his graveside?

gq: Chopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Clésinger. The expenses of the funeral and monument, amounting to 5,000 francs, were covered by Jane Stirling, who also paid for the return of the composer's sister Ludwika to Warsaw. Ludwika took Chopin's heart in an urn, preserved in alcohol, back to Poland in 1850.[n 9] She also took a collection of two hundred letters from Sand to Chopin; after 1851 these were returned to Sand, who seems to have destroyed them.

Question: What is the name of the muse carved on Chopin's tombstone? Question: Who sculpted Chopin's tombstone? Question: Who designed Chopin's tombstone? Question: How much did Chopin's funeral cost? Question: How much did Chopin's funeral and monument cost? Question: Who paid for Chopin's funeral? Question: Who paid for Chopin's funeral? Question: Who took Chopin's heart to Poland? Question: Chopin's sister Ludwika took his heart back to Warsaw preserved in what? Question: Who ended up with the 200 letters from Sand to Chopin?

gq: Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.

Question: How many of Chopin's works still exist? Question: How many Chopin pieces are known to have survived? Question: All of his pieces include what instrument? Question: Only a few of Chopin's pieces involve more than the piano, including piano concertos, songs and what?

gq: Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for example, his fioriture) is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones.

Question: Chopin looked to Beethoven, Mozart, Clementi and who for his own music education? Question: Whose piano method did Chopin teach his students? Question: Whose piano method did Chopin use with his students? Question: Who did Chopin say were the two most important composers in his own music influences?

gq: Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).

Question: What new genre di John Field invent? Question: Who is credited with creating the nocturne? Question: Chopin was the first person to create what as singular concert pieces? Question: Chopin was first in writing what for concerts? Question: What musical concept did Chopin exploit? Question: What three other musicians were developing the new genre?

gq: Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.

Question: What did Chopin add to the modern dance of his era? Question: Chopin was credited for making what more internationally known? Question: Chopin's Polish dance music was developed for what type of hall? Question: What was Chopin responsible for making popular with Euorpeans? Question: How many polonaises were published while Chopin lived? Question: How many polonaises were published after Chopin died? Question: How many Chopin polonaises were published after his death? Question: What dance music of Chopin was written more for recitals than ballrooms? Question: What is different about Chopin's waltzes versus a ballroom waltz?

gq: Some of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary Étude (Op. 10, No. 12), and the Minute Waltz (Op. 64, No. 1). However, with the exception of his Funeral March, the composer never named an instrumental work beyond genre and number, leaving all potential extramusical associations to the listener; the names by which many of his pieces are known were invented by others. There is no evidence to suggest that the Revolutionary Étude was written with the failed Polish uprising against Russia in mind; it merely appeared at that time. The Funeral March, the third movement of his Sonata No. 2 (Op. 35), the one case where he did give a title, was written before the rest of the sonata, but no specific event or death is known to have inspired it.

Question: What is another title Op. 10, No. 12 has garnered? Question: What descriptive name was Op. 10, No. 12 given? Question: What descriptive name was Op. 64, No. 1 given? Question: What is the only piece Chopin gave an actual title to? Question: The Funeral March was written as part of what piece? Question: How many instrumental works did Chopin give a descriptive name to?

gq: The last opus number that Chopin himself used was 65, allocated to the Cello Sonata in G minor. He expressed a deathbed wish that all his unpublished manuscripts be destroyed. At the request of the composer's mother and sisters, however, his musical executor Julian Fontana selected 23 unpublished piano pieces and grouped them into eight further opus numbers (Opp. 66–73), published in 1855. In 1857, 17 Polish songs that Chopin wrote at various stages of his life were collected and published as Op. 74, though their order within the opus did not reflect the order of composition.

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

gq: Works published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobylańska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobylańska.

Question: Pieces published after what year stopped receiving opus numbers? Question: What have pieces published after 1857 been given rather than opus numbers? Question: What is the current musicologist reference for Chopin's pieces? Question: What is the shortened reference for the Kobylańska Catalogue? Question: The Kobylańska Catalogue was named for who? Question: Who compiled the Kobylańska Catalogue?

gq: Chopin's original publishers included Maurice Schlesinger and Camille Pleyel. His works soon began to appear in popular 19th-century piano anthologies. The first collected edition was by Breitkopf & Härtel (1878–1902). Among modern scholarly editions of Chopin's works are the version under the name of Paderewski published between 1937 and 1966 and the more recent Polish "National Edition", edited by Jan Ekier, both of which contain detailed explanations and discussions regarding choices and sources.

Question: Maurice Schlesinger and Camille Pleyel were what to Chopin? Question: Where did Chopin's work start t oshow up? Question: Who released the first collection of Chopin's works? Question: What was the name under scholarly publications of Chopin's work form 1937 to 1966? Question: Who edited the Polish "National Edition" of Chopin's works? Question: Who edited the Polish National Edition?

gq: Improvisation stands at the centre of Chopin's creative processes. However, this does not imply impulsive rambling: Nicholas Temperley writes that "improvisation is designed for an audience, and its starting-point is that audience's expectations, which include the current conventions of musical form." The works for piano and orchestra, including the two concertos, are held by Temperley to be "merely vehicles for brilliant piano playing ... formally longwinded and extremely conservative". After the piano concertos (which are both early, dating from 1830), Chopin made no attempts at large-scale multi-movement forms, save for his late sonatas for piano and for cello; "instead he achieved near-perfection in pieces of simple general design but subtle and complex cell-structure." Rosen suggests that an important aspect of Chopin's individuality is his flexible handling of the four-bar phrase as a structural unit.

Question: What is central to Chopin's process? Question: What is central to Chopin's creativeness? Question: Who wrote that "improvisation is designed for an audience"? Question: What did Rosen suggest was important about chopin's personality? Question: Rosen suggests that a central part of Chopin's uniqueness is how he handles what?

gq: J. Barrie Jones suggests that "amongst the works that Chopin intended for concert use, the four ballades and four scherzos stand supreme", and adds that "the Barcarolle Op. 60 stands apart as an example of Chopin's rich harmonic palette coupled with an Italianate warmth of melody." Temperley opines that these works, which contain "immense variety of mood, thematic material and structural detail", are based on an extended "departure and return" form; "the more the middle section is extended, and the further it departs in key, mood and theme, from the opening idea, the more important and dramatic is the reprise when it at last comes."

Question: What does J. Barrie Jones feel stands supreme of Chopin's concert pieces? Question: What piece does J. Barrie Jones pinpoint as a great example of Chopin's palette? Question: What form does Temperley feel that Chopin's ballades and scherzos are based on?

gq: Chopin's mazurkas and waltzes are all in straightforward ternary or episodic form, sometimes with a coda. The mazurkas often show more folk features than many of his other works, sometimes including modal scales and harmonies and the use of drone basses. However, some also show unusual sophistication, for example Op. 63 No. 3, which includes a canon at one beat's distance, a great rarity in music.

Question: Which of Chopin's works shows more folk aspects? Question: What form are Chopin's mazurkas and waltzes in? Question: Chopin's mazurkas contain more of what than his other compositions? Question: What type of bass do Chopin's mazurkas exhibit? Question: What does Chopin's Op. 63 No. 3 have that is rare?

gq: Chopin's polonaises show a marked advance on those of his Polish predecessors in the form (who included his teachers Zywny and Elsner). As with the traditional polonaise, Chopin's works are in triple time and typically display a martial rhythm in their melodies, accompaniments and cadences. Unlike most of their precursors, they also require a formidable playing technique.

Question: Chopin's ability to create an advanced polonasises surpassed even two of his teachers, Zywny and who? Question: What time are Chopin's polonaises written in? Question: Chopin's polonaise often have what kind of rhythm in their melodies? Question: Chopin's polonaises needed what kind of playing technique?

gq: The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character.

Question: How many nocturnes did Chopin compose? Question: Which type of Chopin's compositons were difficult for perfomers due to their middle sections? Question: Chopin's nocturnes were more structured than who? Question: What year did Chopin meet Field? Question: What is it about the middle of Chopin's nocturnes that increases their drama?

gq: Chopin's études are largely in straightforward ternary form. He used them to teach his own technique of piano playing—for instance playing double thirds (Op. 25, No. 6), playing in octaves (Op. 25, No. 10), and playing repeated notes (Op. 10, No. 7).

Question: What pieces of his did Chopin use to teach his technique? Question: Chopin often taught his piano technique using what form of music he wrote? Question: What form are most of Chopin's études in?

gq: The preludes, many of which are very brief (some consisting of simple statements and developments of a single theme or figure), were described by Schumann as "the beginnings of studies". Inspired by J.S. Bach's The Well-Tempered Clavier, Chopin's preludes move up the circle of fifths (rather than Bach's chromatic scale sequence) to create a prelude in each major and minor tonality. The preludes were perhaps not intended to be played as a group, and may even have been used by him and later pianists as generic preludes to others of his pieces, or even to music by other composers, as Kenneth Hamilton suggests: he has noted a recording by Ferruccio Busoni of 1922, in which the Prelude Op. 28 No. 7 is followed by the Étude Op. 10 No. 5.

Question: What was described as "the beginning of studies" by Schumann? Question: What inspired Chopin for his preludes? Question: What piece of Bach's did Chopin take inspiration for his preludes? Question: Kenneth Hamilton suggests that the preludes may not have been meant as a group but rather as what? Question: Who suggested that Chopin's preludes were not intended to be played as a group? Question: Who did a recording where Étude Op. 10 No. 5. follows relude Op. 28 No. 7?

gq: The two mature piano sonatas (No. 2, Op. 35, written in 1839 and No. 3, Op. 58, written in 1844) are in four movements. In Op. 35, Chopin was able to combine within a formal large musical structure many elements of his virtuosic piano technique—"a kind of dialogue between the public pianism of the brilliant style and the German sonata principle". The last movement, a brief (75-bar) perpetuum mobile in which the hands play in unmodified octave unison throughout, was found shocking and unmusical by contemporaries, including Schumann. The Op. 58 sonata is closer to the German tradition, including many passages of complex counterpoint, "worthy of Brahms" according to the music historians Kornel Michałowski and Jim Samson.

Question: According to music historians, which sonata is similar to German tradition and worthy of Brahms? Question: How many movements are No. 2, Op. 35 and No. 3, Op 58 in? Question: How many movements are in No. 2, Op. 35 and No. 3, Op 58? Question: Which movement was found lacking in musicality by Schumann? Question: What two people claimed that Op 58 was "worthy of Brahms"?

gq: Chopin's harmonic innovations may have arisen partly from his keyboard improvisation technique. Temperley says that in his works "novel harmonic effects frequently result from the combination of ordinary appoggiaturas or passing notes with melodic figures of accompaniment", and cadences are delayed by the use of chords outside the home key (neapolitan sixths and diminished sevenths), or by sudden shifts to remote keys. Chord progressions sometimes anticipate the shifting tonality of later composers such as Claude Debussy, as does Chopin's use of modal harmony.

Question: What likely arose due to Chopin's technique with keyboards? Question: Who wrote about Chopin's "novel harmonic effects"? Question: Chopin's chord progressions are similar in style to what other composer?

gq: In 1841, Léon Escudier wrote of a recital given by Chopin that year, "One may say that Chopin is the creator of a school of piano and a school of composition. In truth, nothing equals the lightness, the sweetness with which the composer preludes on the piano; moreover nothing may be compared to his works full of originality, distinction and grace." Chopin refused to conform to a standard method of playing and believed that there was no set technique for playing well. His style was based extensively on his use of very independent finger technique. In his Projet de méthode he wrote: "Everything is a matter of knowing good fingering ... we need no less to use the rest of the hand, the wrist, the forearm and the upper arm." He further stated: "One needs only to study a certain position of the hand in relation to the keys to obtain with ease the most beautiful quality of sound, to know how to play short notes and long notes, and [to attain] unlimited dexterity." The consequences of this approach to technique in Chopin's music include the frequent use of the entire range of the keyboard, passages in double octaves and other chord groupings, swiftly repeated notes, the use of grace notes, and the use of contrasting rhythms (four against three, for example) between the hands.

Question: Who wrote about a Chopin 1841 recital? Question: What was Chopin's style based upon? Question: What writing of Chopin talks about everything about piano playing has to do with proper fingering?

gq: Polish composers of the following generation included virtuosi such as Moritz Moszkowski, but, in the opinion of J. Barrie Jones, his "one worthy successor" among his compatriots was Karol Szymanowski (1882–1937). Edvard Grieg, Antonín Dvořák, Isaac Albéniz, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, among others, are regarded by critics as having been influenced by Chopin's use of national modes and idioms. Alexander Scriabin was devoted to the music of Chopin, and his early published works include nineteen mazurkas, as well as numerous études and preludes; his teacher Nikolai Zverev drilled him in Chopin's works to improve his virtuosity as a performer. In the 20th century, composers who paid homage to (or in some cases parodied) the music of Chopin included George Crumb, Bohuslav Martinů, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.

Question: According to J. Barrie Jones who was the only true successor to Chopin? Question: Who was Chopin's worthy successor according to Jones? Question: Many people were considered influenced by Chopin's what? Question: Who was devoted to the music of Chopin? Question: Who was Alexander Scriabin's teacher? Question: Who was Alexander Scriabin's teacher?

gq: Jonathan Bellman writes that modern concert performance style—set in the "conservatory" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings—militates against what is known of Chopin's more intimate performance technique. The composer himself said to a pupil that "concerts are never real music, you have to give up the idea of hearing in them all the most beautiful things of art." Contemporary accounts indicate that in performance, Chopin avoided rigid procedures sometimes incorrectly attributed to him, such as "always crescendo to a high note", but that he was concerned with expressive phrasing, rhythmic consistency and sensitive colouring. Berlioz wrote in 1853 that Chopin "has created a kind of chromatic embroidery ... whose effect is so strange and piquant as to be impossible to describe ... virtually nobody but Chopin himself can play this music and give it this unusual turn". Hiller wrote that "What in the hands of others was elegant embellishment, in his hands became a colourful wreath of flowers."

Question: Who wrote that the current large concert style conflicts with Chopin's preference of intimate performances? Question: What did Chopin tell a student is given up in concerts? Question: What did Chopin tend to avoid? Question: What has been falsely credited to Chopin? Question: Who wrote about Chopin's "chromatic embroidery"? Question: Who wrote that Chopin's music, when played by him, became a "colorful wreath of flowers"?

gq: Chopin's music is frequently played with rubato, "the practice in performance of disregarding strict time, 'robbing' some note-values for expressive effect". There are differing opinions as to how much, and what type, of rubato is appropriate for his works. Charles Rosen comments that "most of the written-out indications of rubato in Chopin are to be found in his mazurkas ... It is probable that Chopin used the older form of rubato so important to Mozart ... [where] the melody note in the right hand is delayed until after the note in the bass ... An allied form of this rubato is the arpeggiation of the chords thereby delaying the melody note; according to Chopin's pupil, Karol Mikuli, Chopin was firmly opposed to this practice."

Question: Chopin's compositions are often played with what? Question: In Chopin's music where strict timing is disregarded, what is it called? Question: What does rubato mean? Question: What type of Chopin's music had the most disregard for strict timing according to Charles Rosen?

gq: Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."

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

gq: With his mazurkas and polonaises, Chopin has been credited with introducing to music a new sense of nationalism. Schumann, in his 1836 review of the piano concertos, highlighted the composer's strong feelings for his native Poland, writing that "Now that the Poles are in deep mourning [after the failure of the November 1830 rising], their appeal to us artists is even stronger ... If the mighty autocrat in the north [i.e. Nicholas I of Russia] could know that in Chopin's works, in the simple strains of his mazurkas, there lurks a dangerous enemy, he would place a ban on his music. Chopin's works are cannon buried in flowers!" The biography of Chopin published in 1863 under the name of Franz Liszt (but probably written by Carolyne zu Sayn-Wittgenstein) claims that Chopin "must be ranked first among the first musicians ... individualizing in themselves the poetic sense of an entire nation."

Question: Chopin was able to bring about a new sense of nationalism with his music because of his mazurkas and what? Question: Chopin was noted as introducing music to what? Question: Who wrote a glowing review of Chopin's love for his country through his music in 1836? Question: What year did Schumann review Chopin's piano concertos? Question: In his review Schumann made note of Chopin's emotions for what? Question: Why did Schumann say the Poles were in mourning? Question: Schumann described Chopin's music as cannons buried in what? Question: A biography on Chopin released under Franz Liszt's name was likely written by who? Question: Though Franz Liszt is credited with Chopin's 1863 biography, who probably actually wrote it?

gq: Some modern commentators have argued against exaggerating Chopin's primacy as a "nationalist" or "patriotic" composer. George Golos refers to earlier "nationalist" composers in Central Europe, including Poland's Michał Kleofas Ogiński and Franciszek Lessel, who utilised polonaise and mazurka forms. Barbara Milewski suggests that Chopin's experience of Polish music came more from "urbanised" Warsaw versions than from folk music, and that attempts (by Jachimecki and others) to demonstrate genuine folk music in his works are without basis. Richard Taruskin impugns Schumann's attitude toward Chopin's works as patronizing and comments that Chopin "felt his Polish patriotism deeply and sincerely" but consciously modelled his works on the tradition of Bach, Beethoven, Schubert and Field.

Question: George Golos references what two musicians when claiming Chopin's nationalism was overrated? Question: Who said that Chopin's familiarity with Polish music was more "urbanised" than true folk music? Question: Who said Chopin's works were modeled after Bach, Beethoven, Schubert and Field?

gq: A reconciliation of these views is suggested by William Atwood: "Undoubtedly [Chopin's] use of traditional musical forms like the polonaise and mazurka roused nationalistic sentiments and a sense of cohesiveness amongst those Poles scattered across Europe and the New World ... While some sought solace in [them], others found them a source of strength in their continuing struggle for freedom. Although Chopin's music undoubtedly came to him intuitively rather than through any conscious patriotic design, it served all the same to symbolize the will of the Polish people ..."

Question: Where were Poles scattered to? Question: A modern commentator, William Atwood, feels Poles not only sought solace in Chopin's music but also found them a source of strength as they continued to fight for what? Question: William Atwood suggested that Chopin's music wasn't purposely patriotic but what?

gq: Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.

Question: What place was considered lucky for Chopin to have arrived at considering how much he charged for piano lessons? Question: Who said Chopin was unlike his romantic contemporaries Liszt and Henri Herz? Question: Arthur Hutchings stated that Chopin's lack of what made him special? Question: Who were two of Chopin's contemporaries?

gq: Chopin's qualities as a pianist and composer were recognized by many of his fellow musicians. Schumann named a piece for him in his suite Carnaval, and Chopin later dedicated his Ballade No. 2 in F major to Schumann. Elements of Chopin's music can be traced in many of Liszt's later works. Liszt later transcribed for piano six of Chopin's Polish songs. A less fraught friendship was with Alkan, with whom he discussed elements of folk music, and who was deeply affected by Chopin's death.

Question: What was recognized about Chopin from his musical peers? Question: In what suite did Schumann name a work for Chopin? Question: What Schumann suite contained the name of a piece Schumann named for Chopin? Question: What piece of Chopin's work was dedicated to Schumann? Question: What piece did Chopin dedicate to Schumann? Question: What other musician shows to have elements of Chopin in his work? Question: How many of Chopin's Polish songs did Liszt transliterate for piano? Question: With who did Chopin feel comfortable speaking of folk music with?

gq: Two of Chopin's long-standing pupils, Karol Mikuli (1821–1897) and Georges Mathias, were themselves piano teachers and passed on details of his playing to their own students, some of whom (such as Raoul Koczalski) were to make recordings of his music. Other pianists and composers influenced by Chopin's style include Louis Moreau Gottschalk, Édouard Wolff (1816–1880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano Études to the memory of Chopin; he frequently played Chopin's music during his studies at the Paris Conservatoire, and undertook the editing of Chopin's piano music for the publisher Jacques Durand.

Question: What music did Debussy play a lot at the Paris Conservatoire? Question: Who was a student of Chopin's former students and actually recorded some Chopin music? Question: Who dedicated his 1915 piano Études to Chopin? Question: For what publisher to Debussy edit Chopin's music for?

gq: The exact nature of relations between Tibet and the Ming dynasty of China (1368–1644) is unclear. Analysis of the relationship is further complicated by modern political conflicts and the application of Westphalian sovereignty to a time when the concept did not exist. Some Mainland Chinese scholars, such as Wang Jiawei and Nyima Gyaincain, assert that the Ming dynasty had unquestioned sovereignty over Tibet, pointing to the Ming court's issuing of various titles to Tibetan leaders, Tibetans' full acceptance of these titles, and a renewal process for successors of these titles that involved traveling to the Ming capital. Scholars within China also argue that Tibet has been an integral part of China since the 13th century and that it was thus a part of the Ming Empire. But most scholars outside China, such as Turrell V. Wylie, Melvin C. Goldstein, and Helmut Hoffman, say that the relationship was one of suzerainty, that Ming titles were only nominal, that Tibet remained an independent region outside Ming control, and that it simply paid tribute until the Jiajing Emperor (1521–1566), who ceased relations with Tibet.

Question: Who were Wang Jiawei and Nyima Gyaincain?