["[Dialogue between User and Assistant on 2024-01-01 00:00]\n<User>Here are some news I learnt earlier:\nAt 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 fun\u00e8bre et triomphale, composed to commemorate the tenth anniversary of the July Revolution. Chopin was reportedly unimpressed with the composition.\n<Assistant>Excellent. I've documented all of this information.", "[Dialogue between User and Assistant on 2024-01-02 00:00]\n<User>I'd like to share some important information:\nDuring the summers at Nohant, particularly in the years 1839\u201343, 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:\n\nFrom 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to Grzyma\u0142a: \"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 Hall\u00e9 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.\n\nChopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fianc\u00e9, the young fortune-hunting sculptor Auguste Cl\u00e9singer. 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\u2014a rich actress and a prince in weak health\u2014could 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.\n\nChopin'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.\"\n\nChopin'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.\n\nChopin's life was covered in a BBC TV documentary Chopin \u2013 The Women Behind The Music (2010), and in a 2010 documentary realised by Angelo Bozzolini and Roberto Prosseda for Italian television.\n\nChopin'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).\n\nPossibly 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.\n\nChopin 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 Andr\u00e9 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).\n\nNumerous 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.\n\nThe 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.\n\nChopin'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.\n\nChopin's music was used in the 1909 ballet Chopiniana, choreographed by Michel Fokine and orchestrated by Alexander Glazunov. Sergei Diaghilev commissioned additional orchestrations\u2014from Stravinsky, Anatoly Lyadov, Sergei Taneyev and Nikolai Tcherepnin\u2014for later productions, which used the title Les Sylphides.\n\nIn 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.\n<Assistant>I've processed this information and will remember it.", "[Dialogue between User and Assistant on 2024-01-03 00:00]\n<User>I want to share some knowledge I just acquired:\nIn 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 (\u00a31.05 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.\n<Assistant>Great! I've added this to my knowledge base.", "[Dialogue between User and Assistant on 2024-01-04 00:00]\n<User>Here are some facts I recently discovered:\nIn 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 Grzyma\u0142a \"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 \u0141yszczy\u0144ski, he wrote out his last will and testament\u2014\"a kind of disposition to be made of my stuff in the future, if I should drop dead somewhere\", he wrote to Grzyma\u0142a.\n<Assistant>Thanks for the update. I've recorded these facts.", "[Dialogue between User and Assistant on 2024-01-05 00:00]\n<User>I'd like to tell you about some recent findings:\nChopin 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.\n\nAt 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.\n\nWith 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 Vend\u00f4me 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.\"\n\nSome 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 m\u00e9thode, 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 Cl\u00e9singer made Chopin's death mask and a cast of his left hand.\n\nChopin'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.\n\nThe 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.\n<Assistant>Received. I'll store this information.", "[Dialogue between User and Assistant on 2024-01-06 00:00]\n<User>The following are some more news I learnt:\nMozart'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 Lef\u00e9bure-W\u00e9ly. The funeral procession to P\u00e8re 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.\n\nChopin's tombstone, featuring the muse of music, Euterpe, weeping over a broken lyre, was designed and sculpted by Cl\u00e9singer. 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.\n\nOver 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.\n<Assistant>Thanks for sharing. I've committed this to memory.", "[Dialogue between User and Assistant on 2024-01-07 00:00]\n<User>I have some interesting updates for you:\nChopin 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.\n\nChopin 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 \u00e9tude, 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).\n\nChopin 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.\n\nSome of Chopin's well-known pieces have acquired descriptive titles, such as the Revolutionary \u00c9tude (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 \u00c9tude 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.\n\nThe 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\u201373), 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.\n\nWorks published since 1857 have received alternative catalogue designations instead of opus numbers. The present standard musicological reference for Chopin's works is the Kobyla\u0144ska Catalogue (usually represented by the initials 'KK'), named for its compiler, the Polish musicologist Krystyna Kobyla\u0144ska.\n\nChopin'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 & H\u00e4rtel (1878\u20131902). 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.\n\nImprovisation 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.\n\nJ. 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.\"\n\nChopin'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.\n\nChopin'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.\n\nThe 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.\n\nChopin's \u00e9tudes are largely in straightforward ternary form. He used them to teach his own technique of piano playing\u2014for instance playing double thirds (Op. 25, No. 6), playing in octaves (Op. 25, No. 10), and playing repeated notes (Op. 10, No.  7).\n\nThe 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 \u00c9tude Op. 10 No. 5.\n\nThe 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\u2014\"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 Micha\u0142owski and Jim Samson.\n\nChopin'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.\n<Assistant>Great! I've added this to my knowledge base.", "[Dialogue between User and Assistant on 2024-01-08 00:00]\n<User>Here's some more information I came across:\nIn 1841, L\u00e9on 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 m\u00e9thode 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.\n\nPolish 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\u20131937). Edvard Grieg, Anton\u00edn Dvo\u0159\u00e1k, Isaac Alb\u00e9niz, 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 \u00e9tudes 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 Martin\u016f, Darius Milhaud, Igor Stravinsky and Heitor Villa-Lobos.\n\nJonathan Bellman writes that modern concert performance style\u2014set in the \"conservatory\" tradition of late 19th- and 20th-century music schools, and suitable for large auditoria or recordings\u2014militates 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.\"\n\nChopin'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.\"\n\nFriederike M\u00fcller, 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\u2014or she\u2014does 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.\"\n<Assistant>I understand. I'll keep this in mind.", "[Dialogue between User and Assistant on 2024-01-09 00:00]\n<User>The following are some new knowledge:\nWith 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.\"\n\nSome 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 Micha\u0142 Kleofas Ogi\u0144ski 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.\n\nA 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 ...\"\n\nJones 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\u2014\"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons\"\u2014and 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 soir\u00e9es) 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.\n\nChopin'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.\n<Assistant>Great! I've added this to my knowledge base.", "[Dialogue between User and Assistant on 2024-01-10 00:00]\n<User>Let me update you with some new information:\nTwo of Chopin's long-standing pupils, Karol Mikuli (1821\u20131897) 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, \u00c9douard Wolff (1816\u20131880) and Pierre Zimmermann. Debussy dedicated his own 1915 piano \u00c9tudes 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.\n\nThe exact nature of relations between Tibet and the Ming dynasty of China (1368\u20131644) 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\u20131566), who ceased relations with Tibet.\n\nSome scholars note that Tibetan leaders during the Ming frequently engaged in civil war and conducted their own foreign diplomacy with neighboring states such as Nepal. Some scholars underscore the commercial aspect of the Ming-Tibetan relationship, noting the Ming dynasty's shortage of horses for warfare and thus the importance of the horse trade with Tibet. Others argue that the significant religious nature of the relationship of the Ming court with Tibetan lamas is underrepresented in modern scholarship. In hopes of reviving the unique relationship of the earlier Mongol leader Kublai Khan (r. 1260\u20131294) and his spiritual superior Drog\u00f6n Ch\u00f6gyal Phagpa (1235\u20131280) of the Sakya school of Tibetan Buddhism, the Yongle Emperor (r. 1402\u20131424) made a concerted effort to build a secular and religious alliance with Deshin Shekpa (1384\u20131415), the Karmapa of the Karma Kagyu school. However, the Yongle Emperor's attempts were unsuccessful.\n<Assistant>Received. I'll store this information."]
[{"question": "Pieces published after what year stopped receiving opus numbers?", "answer": "1857"}, {"question": "How many works did Chopin write in 1842?", "answer": "six"}, {"question": "In what month and year did Chopin give his final performance?", "answer": "February 1848"}, {"question": "Who portrayed Chopin in the 1928 film, La valse de l'adieu?", "answer": "Pierre Blanchar"}, {"question": "Whose piano method did Chopin use with his students?", "answer": "Clementi"}, {"question": "How many of Chopin's Polish songs did Liszt transliterate for piano?", "answer": "six"}, {"question": "Chopin's polonaises needed what kind of playing technique?", "answer": "formidable"}, {"question": "What date did he perform with Viardot?", "answer": "7 July"}, {"question": "Who suggested that Chopin's preludes were not intended to be played as a group?", "answer": "Kenneth Hamilton"}, {"question": "Chopin's mazurkas contain more of what than his other compositions?", "answer": "folk features"}, {"question": "What year was the earliest Chopin recording created?", "answer": "1895"}, {"question": "How many movements are No. 2, Op. 35 and No. 3, Op 58 in?", "answer": "four"}, {"question": "What was the name under scholarly publications of Chopin's work form 1937 to 1966?", "answer": "Paderewski"}, {"question": "According to who did Chopin demand strictly sticking with rhythm?", "answer": "Friederike M\u00fcller"}, {"question": "What musical concept did Chopin exploit?", "answer": "concert \u00e9tude"}, {"question": "The Tibetan leaders had a diplomacy with what neighboring state?", "answer": "Nepal"}, {"question": "How many polonaises were published while Chopin lived?", "answer": "seven"}, {"question": "What has the Polish government not allowed to find true cause of death?", "answer": "DNA testing"}, {"question": "How often is the Grand prix du disque de F. Chopin for notable Chopin recordings held?", "answer": "every five years."}, {"question": "What is another title Op. 10, No. 12 has garnered?", "answer": "the Revolutionary \u00c9tude"}, {"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?", "answer": "freedom"}, {"question": "What has stated that every pianist in the recording era has used Chopin's music?", "answer": "The British Library"}, {"question": "Who accompanied Chopin's sister to Paris?", "answer": "her husband and daughter"}, {"question": "Chopin was credited for making what more internationally known?", "answer": "mazurkas"}, {"question": "What did Chopin write while staying with Doctor Adam \u0141yszczy\u0144ski?", "answer": "will"}, {"question": "Chopin had to decline who's invitation in 1843 to particpate in a performance at Erard's?", "answer": "Alkan"}, {"question": "Who sang chopin arrangements on July 7 of the year Chopin was in London?", "answer": "Viardot"}, {"question": "Where did Chopin stay while in London?", "answer": "Dover Street"}, {"question": "What year was  La valse de l'adieu released?", "answer": "1928"}, {"question": "When did Pabst record his Chopin performance?", "answer": "1895"}, {"question": "Where was Chopin's last public performance?", "answer": "Guildhall"}, {"question": "Who wrote that Chopin's music, when played by him, became a \"colorful wreath of flowers\"?", "answer": "Hiller"}, {"question": "Who wrote a letter on June 7, 1842 about a stay in Nohant?", "answer": "Delacroix"}, {"question": "What was Chopin's style based upon?", "answer": "independent finger technique"}, {"question": "Where was the fictionalized \"Chopin\" produced?", "answer": "Milan"}, {"question": "Who designed Chopin's tombstone?", "answer": "Cl\u00e9singer."}, {"question": "What dance music of Chopin was written more for recitals than ballrooms?", "answer": "waltzes"}, {"question": "What year did Chopin meet Field?", "answer": "1833"}, {"question": "Chopin's polonaise often have what kind of rhythm in their melodies?", "answer": "martial"}, {"question": "How much did Chopin's funeral and monument cost?", "answer": "5,000 francs"}, {"question": "In what suite did Schumann name a work for Chopin?", "answer": "Carnaval"}, {"question": "What was the diagnosis of Chopin's health condition at this time?", "answer": "terminal"}, {"question": "Chopiniana later went by a different name, what is that name?", "answer": "Les Sylphides"}, {"question": "It was in commemoration of the tenth anniversary of what?", "answer": "the July Revolution."}, {"question": "Who dedicated his 1915 piano \u00c9tudes to Chopin?", "answer": "Debussy"}, {"question": "What time are Chopin's polonaises written in?", "answer": "triple time"}, {"question": "How many works did Chopin write in 1843?", "answer": "six shorter pieces"}, {"question": "What type of bass do Chopin's mazurkas exhibit?", "answer": "drone bass"}, {"question": "Who said Chopin was unlike his romantic contemporaries Liszt and Henri Herz?", "answer": "Arthur Hutchings"}, {"question": "What is it about the middle of Chopin's nocturnes that increases their drama?", "answer": "agitated expression"}, {"question": "When was the fictionalized \"Chopin\" produced?", "answer": "1901."}, {"question": "Who starred as Chopin in Impromptu?", "answer": "Hugh Grant"}, {"question": "How many of Chopin's works still exist?", "answer": "Over 230"}, {"question": "Who sculpted Chopin's tombstone?", "answer": "Cl\u00e9singer"}, {"question": "Starting in what year did Chopin start showing evidence of very bad health?", "answer": "1842"}, {"question": "What writing of Chopin talks about everything about piano playing has to do with proper fingering?", "answer": "his Projet de m\u00e9thode"}, {"question": "Who was Chopin's musical executor?", "answer": "Julian Fontana"}, {"question": "Where was Chopin's last public performance?", "answer": "London's Guildhall"}, {"question": "Which movement was found lacking in musicality by Schumann?", "answer": "The last movement"}, {"question": "According to Friederike M\u00fcller, Chopin insisted his students have the strictest adherence to what?", "answer": "rhythm."}, {"question": "On Chopin's 200th anniversary critics of what publication made recommendations on recordings of Chopin's work?", "answer": "The New York Times"}, {"question": "Who edited the Polish National Edition?", "answer": "Jan Ekier"}, {"question": "Who wrote that \"improvisation is designed for an audience\"?", "answer": "Nicholas Temperley"}, {"question": "What did Parisian ladies consider proper etiquette when in Chopin's room?", "answer": "to faint"}, {"question": "What was described as \"the beginning of studies\" by Schumann?", "answer": "The preludes"}, {"question": "When did Ulrich do his sonnet on Chopin?", "answer": "1830"}, {"question": "To whom did Chopin write a letter on 21 February 1842 about his agonizing pain?", "answer": "Grzyma\u0142a"}, {"question": "What is the name of the ballet that included Chopin's work?", "answer": "Chopiniana"}, {"question": "How much did Chopin's funeral cost?", "answer": "5,000 francs"}, {"question": "Where was Chopin invited to in late summer?", "answer": "Scotland"}, {"question": "Who said Chopin's works were modeled after Bach, Beethoven, Schubert and Field?", "answer": "Richard Taruskin"}, {"question": "What role did Sand take on as her relationship with Chopin progressed?", "answer": "nurse"}, {"question": "Which family member came to Paris in June 1849?", "answer": "his sister"}, {"question": "For what publisher to Debussy edit Chopin's music for?", "answer": "Jacques Durand"}, {"question": "What did Chopin reply to the doctor when asked is he was suffering?", "answer": "\"No longer\""}, {"question": "When did Chopin's relationship with Sand start to deteriorate?", "answer": "1846"}, {"question": "Where did his friends found Chopin an apartment in 1849?", "answer": "Chaillot"}, {"question": "What steet did Chopin stay on in London?", "answer": "Dover Street"}, {"question": "Who wrote about Chopin's \"novel harmonic effects\"?", "answer": "Temperley"}, {"question": "Who has denied testing Chopin's DNA to determine the actual cause of death?", "answer": "the Polish government."}, {"question": "Who paid for Chopin's funeral?", "answer": "Jane Stirling"}, {"question": "What is the name of the actor who received and Oscar nomination for his role as Chopin?", "answer": "Cornel Wilde"}, {"question": "How many Chopin pieces are known to have survived?", "answer": "Over 230"}, {"question": "Where did Chopin go in the spring of 1848?", "answer": "London"}, {"question": "What style is the fictionalized \"Chopin\" in?", "answer": "opera"}, {"question": "How many pieces did Chopin write in 1841?", "answer": "a dozen"}, {"question": "Leon Ulrich wrote about Chopin in what format?", "answer": "sonnet"}, {"question": "What instrument did Chopin play at  Adolphe Nourrit's funeral?", "answer": "organ"}, {"question": "What did Sand begin referring to Chopin as as his illness got worse?", "answer": "third child"}, {"question": "Who gave Chopin a loan in September for an apartment?", "answer": "Jane Stirling"}, {"question": "Who played the earlier known recording of Chopin's work?", "answer": "Paul Pabst"}, {"question": "What year did Schumann review Chopin's piano concertos?", "answer": "1836"}, {"question": "How long was Chopin's funeral delayed?", "answer": "two weeks"}, {"question": "Rosen suggests that a central part of Chopin's uniqueness is how he handles what?", "answer": "the four-bar phrase"}, {"question": "What likely arose due to Chopin's technique with keyboards?", "answer": "harmonic innovations"}, {"question": "What anniversary was the July Revolution that Sand and Chopin were present at a dress rehearsal for?", "answer": "tenth"}, {"question": "What was the interest Sand had that Chopin showed apathy towards?", "answer": "radical political pursuits"}, {"question": "What city did Chopin perform at on September 27?", "answer": "Glasgow"}, {"question": "Who grouped 23 unpublished pieces and published them as Opp. 66-73 in 1855?", "answer": "Julian Fontana"}, {"question": "Chopin's Polish dance music was developed for what type of hall?", "answer": "concert hall"}]