Question: Where did they travel after leaving Barcelona?

Answer: Marseilles

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] <hl> The group traveled first to Barcelona, then to Marseilles , where they stayed for a few months while Chopin convalesced. <hl> 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.

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 <hl> Marseilles <hl>, 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.

The group traveled first to Barcelona, then to <hl> Marseilles <hl> , where they stayed for a few months while Chopin convalesced.


Question: Where did Chopin and Sand move to in 1842?

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.

Answer: Square d'Orléans

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. <hl> In 1842 he and Sand moved to the Square d'Orléans , living in adjacent buildings. <hl>

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 <hl> Square d'Orléans <hl>, living in adjacent buildings.

In 1842 he and Sand moved to the <hl> Square d'Orléans <hl> , living in adjacent buildings.


Question: Where did they spend most summers until 1846?

Answer: Nohant

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. <hl> In May 1839 they headed for the summer to Sand's estate at Nohant , where they spent most summers until 1846. <hl> 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.

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 <hl> Nohant <hl>, 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.

In May 1839 they headed for the summer to Sand's estate at <hl> Nohant <hl> , where they spent most summers until 1846.


Question: What event were Chopin and Sand at on 26 July 1840?

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.

Answer: Berlioz's Grande symphonie funèbre et triomphale

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. <hl> 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. <hl> Chopin was reportedly unimpressed with the composition.

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 <hl> Berlioz's Grande symphonie funèbre et triomphale <hl>, composed to commemorate the tenth anniversary of the July Revolution. Chopin was reportedly unimpressed with the composition.

On 26 July 1840 Chopin and Sand were present at the dress rehearsal of <hl> Berlioz's Grande symphonie funèbre et triomphale <hl> , composed to commemorate the tenth anniversary of the July Revolution.


Question: What anniversary was the July Revolution that Sand and Chopin were present at a dress rehearsal for?

Answer: tenth

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. <hl> 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. <hl> Chopin was reportedly unimpressed with the composition.

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 <hl> tenth <hl> anniversary of the July Revolution. Chopin was reportedly unimpressed with the composition.


Question: At whose funeral did Chopin play in 1839?

Answer: Adolphe Nourrit

<hl> 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. <hl> 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.

At the funeral of the tenor <hl> Adolphe Nourrit <hl> 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: What instrument did Chopin play at Adolphe Nourrit's funeral?

Answer: organ

<hl> 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. <hl> 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.

At the funeral of the tenor Adolphe Nourrit in Paris in 1839, Chopin made a rare appearance at the <hl> organ <hl>, 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.

At the funeral of the tenor Adolphe Nourrit in Paris in 1839, Chopin made a rare appearance at the <hl> organ <hl> , playing a transcription of Franz Schubert's lied Die Gestirne.


Question: What piece did Chopin play at Adolphe Nourrit's funeral?

Answer: Franz Schubert's lied Die Gestirne

<hl> 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 . <hl> 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.

At the funeral of the tenor Adolphe Nourrit in Paris in 1839, Chopin made a rare appearance at the organ, playing a transcription of <hl> Franz Schubert's lied Die Gestirne <hl>. 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.

At the funeral of the tenor Adolphe Nourrit in Paris in 1839, Chopin made a rare appearance at the organ, playing a transcription of <hl> Franz Schubert's lied Die Gestirne <hl> .


Question: Chopin attended the funeral of who in 1839?

Answer: Adolphe Nourrit

<hl> 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. <hl> 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.

At the funeral of the tenor <hl> Adolphe Nourrit <hl> 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: What did Chopin play at the funeral?

Answer: Franz Schubert's lied Die Gestirne.

<hl> 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. <hl> Chopin was reportedly unimpressed with the composition.

At the funeral of the tenor Adolphe Nourrit in Paris in 1839, Chopin made a rare appearance at the organ, playing a transcription of <hl> Franz Schubert's lied Die Gestirne. <hl> 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: What was the dress rehearsal for?

Answer: Berlioz's Grande symphonie funèbre et triomphale

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. <hl> 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. <hl> Chopin was reportedly unimpressed with the composition.

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 <hl> Berlioz's Grande symphonie funèbre et triomphale <hl>, composed to commemorate the tenth anniversary of the July Revolution. Chopin was reportedly unimpressed with the composition.

On 26 July 1840 Chopin and Sand were present at the dress rehearsal of <hl> Berlioz's Grande symphonie funèbre et triomphale <hl> , composed to commemorate the tenth anniversary of the July Revolution.


Question: It was in commemoration of the tenth anniversary of what?

Answer: the July Revolution.

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. <hl> 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. <hl>

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 <hl> the July Revolution. <hl> Chopin was reportedly unimpressed with the composition.


Question: What is the example given of a work produced by Frédéric during calm summers at Nohant?

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:

Answer: Polonaise in A-flat major, Op. 53

<hl> 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 . <hl> 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:

During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his <hl> Polonaise in A-flat major, Op. 53 <hl>. 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:

During the summers at Nohant, particularly in the years 1839–43, Chopin found quiet, productive days during which he composed many works, including his <hl> Polonaise in A-flat major, Op. 53 <hl> .


Question: Which of the two people that visited Chopin were tutored by him on piano?

Answer: Pauline Viardot

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. <hl> Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot , whom Chopin had advised on piano technique and composition. <hl> Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

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 <hl> Pauline Viardot <hl>, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

Among the visitors to Nohant were Delacroix and the mezzo-soprano <hl> Pauline Viardot <hl> , whom Chopin had advised on piano technique and composition.


Question: On what date did Delacroix write a letter based on his visit at Nohant?

Answer: 7 June 1842

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. <hl> Delacroix gives an account of staying at Nohant in a letter of 7 June 1842 : <hl>

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 <hl> 7 June 1842 <hl>:

Delacroix gives an account of staying at Nohant in a letter of <hl> 7 June 1842 <hl> :


Question: What did Chopin help Pauline Viardot with?

Answer: piano technique and composition

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. <hl> Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition . <hl> Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

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 <hl> piano technique and composition <hl>. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on <hl> piano technique and composition <hl> .


Question: Who were two visitors to Chopin while in Nohant?

Answer: Delacroix and the mezzo-soprano Pauline Viardot

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. <hl> Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot , whom Chopin had advised on piano technique and composition. <hl> Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

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 <hl> Delacroix and the mezzo-soprano Pauline Viardot <hl>, whom Chopin had advised on piano technique and composition. Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

Among the visitors to Nohant were <hl> Delacroix and the mezzo-soprano Pauline Viardot <hl> , whom Chopin had advised on piano technique and composition.


Question: What two things did Chopin advise Viardot on?

Answer: piano technique and composition.

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. <hl> 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: <hl>

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 <hl> piano technique and composition. <hl> Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:


Question: Who wrote a letter on June 7, 1842 about a stay in Nohant?

Answer: Delacroix

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. <hl> Among the visitors to Nohant were Delacroix and the mezzo-soprano Pauline Viardot, whom Chopin had advised on piano technique and composition. <hl> Delacroix gives an account of staying at Nohant in a letter of 7 June 1842:

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 <hl> Delacroix <hl> 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: In which year did Chopin begin experiencing a serious decline in health?

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.

Answer: 1842

<hl> From 1842 onwards, Chopin showed signs of serious illness. <hl> 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.

From <hl> 1842 <hl> 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: To whom did Chopin write a letter on 21 February 1842 about his agonizing pain?

Answer: Grzymała

From 1842 onwards, Chopin showed signs of serious illness. <hl> 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." <hl> 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.

From 1842 onwards, Chopin showed signs of serious illness. After a solo recital in Paris on 21 February 1842, he wrote to <hl> Grzymała <hl>: "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.

After a solo recital in Paris on 21 February 1842, he wrote to <hl> Grzymała <hl> : "I have to lie in bed all day long, my mouth and tonsils are aching so much."


Question: What performance was Chopin forced to decline due to his increasing ill health?

Answer: Beethoven Seventh Symphony arrangement at Erard's

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." <hl> 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. <hl> 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.

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 <hl> Beethoven Seventh Symphony arrangement at Erard's <hl> 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: What instrument did Chopin play for Charles Hallé when the latter visited him?

Answer: piano

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. <hl> 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. <hl> 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.

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 <hl> piano <hl> 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: What has current day research suggested that Chopin was suffering from alongside his other illnesses?

Answer: temporal lobe epilepsy

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. <hl> Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy . <hl>

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 <hl> temporal lobe epilepsy <hl>.

Modern research suggests that apart from any other illnesses, he may also have suffered from <hl> temporal lobe epilepsy <hl> .


Question: Starting in what year did Chopin start showing evidence of very bad health?

Answer: 1842

<hl> From 1842 onwards, Chopin showed signs of serious illness. <hl> 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.

From <hl> 1842 <hl> 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: What second performance did Chopin have to decline to play?

Answer: Beethoven Seventh Symphony arrangement

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." <hl> 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. <hl> 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.

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 <hl> Beethoven Seventh Symphony arrangement <hl> 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: What specific illness does modern evidence point to Chopin having?

Answer: temporal lobe epilepsy

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. <hl> Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy . <hl>

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 <hl> temporal lobe epilepsy <hl>.

Modern research suggests that apart from any other illnesses, he may also have suffered from <hl> temporal lobe epilepsy <hl> .


Question: When did Chopin show signs of serious illness?

Answer: From 1842 onwards

<hl> From 1842 onwards , Chopin showed signs of serious illness. <hl> 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.

<hl> From 1842 onwards <hl>, 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.

<hl> From 1842 onwards <hl> , Chopin showed signs of serious illness.


Question: Chopin wrote in 1842 that he had to lie in bed all day because what ached so much?

Answer: mouth and tonsils

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, <hl> my mouth and tonsils are aching so much." <hl> 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.

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 <hl> mouth and tonsils <hl> 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: Chopin had to decline who's invitation in 1843 to particpate in a performance at Erard's?

Answer: Alkan

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." <hl> 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. <hl> 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.

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 <hl> Alkan <hl> 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: Who visited Chopin in 1844 and wrote about his inability to move?

Answer: Charles Hallé

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. <hl> 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. <hl> 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.

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, <hl> Charles Hallé <hl> 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: Modern medicine indicates Chopin may have suffered from what condition?

Answer: temporal lobe epilepsy.

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. <hl> Modern research suggests that apart from any other illnesses, he may also have suffered from temporal lobe epilepsy. <hl>

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 <hl> temporal lobe epilepsy. <hl>


Question: What was the name of Sand's daughter's fiance that contributed to deteriorating the relationship between Sand and Chopin?

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.

Answer: Auguste Clésinger

<hl> 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 . <hl> 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.

Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor <hl> Auguste Clésinger <hl>. 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.

Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor <hl> Auguste Clésinger <hl> .


Question: What was the interest Sand had that Chopin showed apathy towards?

Answer: radical political pursuits

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. <hl> Chopin was utterly indifferent to Sand's radical political pursuits , while Sand looked on his society friends with disdain. <hl> 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.

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 <hl> radical political pursuits <hl>, 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.

Chopin was utterly indifferent to Sand's <hl> radical political pursuits <hl> , while Sand looked on his society friends with disdain.


Question: What did Sand begin referring to Chopin as as his illness got worse?

Answer: third child

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. <hl> 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 ". <hl> 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.

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 "<hl> third child <hl>". 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.

As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her " <hl> third child <hl> ".


Question: What was the name of Sand's novel she published in reference to her situation with Chopin?

Answer: Lucrezia Floriani

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." <hl> 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. <hl> 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.

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 <hl> Lucrezia Floriani <hl>, 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.

In 1847 Sand published her novel <hl> Lucrezia Floriani <hl> , 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.


Question: In what year did Chopin and Sand ultimately bring their relationship to a close?

Answer: 1847

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." <hl> 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. <hl> 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.

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 <hl> 1847 <hl> 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?

Answer: 1846

<hl> 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. <hl> 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.

Chopin's relations with Sand were soured in <hl> 1846 <hl> 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: Whom did Sand's daughter Solange become engaged to?

Answer: Auguste Clésinger

<hl> 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 . <hl> 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.

Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor <hl> Auguste Clésinger <hl>. 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.

Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor <hl> Auguste Clésinger <hl> .


Question: What novel did Sand write in 1847?

Answer: Lucrezia Floriani

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." <hl> 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. <hl> 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.

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 <hl> Lucrezia Floriani <hl>, 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.

In 1847 Sand published her novel <hl> Lucrezia Floriani <hl> , 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.


Question: Who was the fortune hunter engaged to Sand's daughter?

Answer: Auguste Clésinger.

<hl> 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. <hl> 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.

Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor <hl> Auguste Clésinger. <hl> 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: What role did Sand take on as her relationship with Chopin progressed?

Answer: nurse

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. <hl> 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". <hl> 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.

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 <hl> nurse <hl> 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: What was the name of Sand's book where the main characters can be interpreted as Sand and Chopin?

Answer: Lucrezia Floriani

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." <hl> 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. <hl> 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.

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 <hl> Lucrezia Floriani <hl>, 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.

In 1847 Sand published her novel <hl> Lucrezia Floriani <hl> , 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.


Question: When did Chopin end his relationship with Sand?

Answer: 1847

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." <hl> 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. <hl> 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.

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 <hl> 1847 <hl> 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: What was the name of the single piece of work he wrote in 1844?

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."

Answer: Op. 58 sonata

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. <hl> In 1844 he wrote only the Op. 58 sonata . <hl> 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."

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 <hl> Op. 58 sonata <hl>. 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."

In 1844 he wrote only the <hl> Op. 58 sonata <hl> .


Question: What can be said of these works compared to his work in other years even though the quantity was less?

Answer: more refined than many of his earlier compositions

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). <hl> 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." <hl>

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 <hl> more refined than many of his earlier compositions <hl>, Zamoyski opines that "his powers of concentration were failing and his inspiration was beset by anguish, both emotional and intellectual."

Although these works were <hl> more refined than many of his earlier compositions <hl> , 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?

Answer: a dozen

Chopin's output as a composer throughout this period declined in quantity year by year. <hl> Whereas in 1841 he had written a dozen works, only six were written in 1842 and six shorter pieces in 1843. <hl> 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."

Chopin's output as a composer throughout this period declined in quantity year by year. Whereas in 1841 he had written <hl> a dozen <hl> 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 compose in 1842?

Answer: six

Chopin's output as a composer throughout this period declined in quantity year by year. <hl> Whereas in 1841 he had written a dozen works, only six were written in 1842 and six shorter pieces in 1843. <hl> 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."

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 <hl> six <hl> 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: What piece did Chopin compose in 1844?

Answer: Op. 58 sonata

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. <hl> In 1844 he wrote only the Op. 58 sonata . <hl> 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."

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 <hl> Op. 58 sonata <hl>. 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."

In 1844 he wrote only the <hl> Op. 58 sonata <hl> .


Question: How many works did Chopin write in 1842?

Answer: six

Chopin's output as a composer throughout this period declined in quantity year by year. <hl> Whereas in 1841 he had written a dozen works, only six were written in 1842 and six shorter pieces in 1843. <hl> 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."

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 <hl> six <hl> 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 works did Chopin write in 1843?

Answer: six shorter pieces

Chopin's output as a composer throughout this period declined in quantity year by year. <hl> Whereas in 1841 he had written a dozen works, only six were written in 1842 and six shorter pieces in 1843. <hl> 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."

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 <hl> six shorter pieces <hl> 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 works did Chopin write in 1845?

Answer: three mazurkas

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. <hl> 1845 saw the completion of three mazurkas (Op. 59). <hl> 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."

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 <hl> three mazurkas <hl> (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: In what month and year did Chopin give his final performance?

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.

Answer: February 1848

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. <hl> In February 1848 , with the cellist Auguste Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. <hl>

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 <hl> February 1848 <hl>, with the cellist Auguste Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.

In <hl> February 1848 <hl> , with the cellist Auguste Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.


Question: With whom did Chopin perform his final concert?

Answer: Auguste Franchomme

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. <hl> In February 1848, with the cellist Auguste Franchomme , he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. <hl>

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 <hl> Auguste Franchomme <hl>, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.

In February 1848, with the cellist <hl> Auguste Franchomme <hl> , he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.


Question: When did Chopin last perform?

Answer: February 1848

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. <hl> In February 1848 , with the cellist Auguste Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. <hl>

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 <hl> February 1848 <hl>, with the cellist Auguste Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.

In <hl> February 1848 <hl> , with the cellist Auguste Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.


Question: Who did Chopin last perform with?

Answer: Auguste Franchomme

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. <hl> In February 1848, with the cellist Auguste Franchomme , he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. <hl>

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 <hl> Auguste Franchomme <hl>, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.

In February 1848, with the cellist <hl> Auguste Franchomme <hl> , 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?

Answer: struggle financially.

<hl> 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. <hl>

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 <hl> struggle financially. <hl> 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: Who did Chopin have at his last Parisian concert in 1848?

Answer: Auguste Franchomme

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. <hl> In February 1848, with the cellist Auguste Franchomme , he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65. <hl>

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 <hl> Auguste Franchomme <hl>, he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.

In February 1848, with the cellist <hl> Auguste Franchomme <hl> , he gave his last Paris concert, which included three movements of the Cello Sonata Op. 65.


Question: What instrument did Auguste Franchomme play?

Answer: Cello

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. <hl> In February 1848, with the cellist Auguste Franchomme, he gave his last Paris concert, which included three movements of the Cello Sonata Op. <hl> 65.

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 <hl> Cello <hl> Sonata Op. 65.


Question: What television station made a documentary on Chopin?

Answer: BBC

<hl> 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. <hl>

Chopin's life was covered in a <hl> BBC <hl> 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 two people created a documentary on Chopin for Italian tv?

Answer: Angelo Bozzolini and Roberto Prosseda

<hl> 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. <hl>

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


Question: What was the title of the documentary the BBC released?

Answer: The Women Behind The Music

<hl> 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. <hl>

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