1. Which statement are true about Chopin's waltzes?
   They were first composed in 1827, also the first of the genre "waltz for piano".
   Chopin did not intend them for ballroom dancing.
   Schubert, Liszt, Tchaikovsky, Strauss, and Ravel later followed Chopin and developed the form further.
   All are wrong.
    
2. How many waltzes were published during Chopin's lifetime?
   8
   10
   13
   14
   19
   All are wrong.
    
3. A remarkable music critic provided an illustration for Chopin's responsibility to bring the "waltz for piano"
   with its nobility in terms of musical quality:
   
        "The waltz is, as with those preceding, a most out-of-doors kind of salon piece: if Chopin had written it
        for dancing, more than half of the dancers would necessarily be represented by countesses. This waltz
        is aristocratic to the tips of its toes."
   
   The name/association of the critic is
   Wilhelm von Lenz
   Felix Mendelssohn
   Robert Schumann
   La France Musicale
    
4. The above comment was about the waltz
   Op.18
   Op.34 No.1
   Op.34 No.3
   Op.42
   Op.64 No.1
    
5. Which waltzes most belong to the brilliant style of the dance, as opposite to the melancholic one?
   Op.18, Op.42, Op.70 No.2
   Op.34 No.2, Op.64 No.3, Op.70 No.1
   Op.18, Op.34 No.1, Op.42
   Op.34 No.3, Op.42, Op.70 No.3
   Op.34 No.1, Op. 34 No.3, Op. 69 No.2
    
6. Which "grande valse brillante" is not a grand waltz in "brilliant" style?
   Op.18
   Op.34 No.1
   Op.34 No.2
   Op.34 No.3
    
7. Music critic James Huneker claimed about one of the waltzes that
   
        "[It] is the most poetic of all. The veiled melancholy of the first theme has never been excelled by
        the composer. It is a fascinating lyric sorrow, and the psychologic motivation of the first theme in
        the curving figure and the second theme does not relax the spell. A space of clearer skies, warmer
        more consoling winds are in the D flat interlude; but the spirit of unrest soon returns."
   
   This remark was about the waltz
   Op.34 No.1     Op.64 No.1     Op.70 No.1
   Op.34 No.2     Op.64 No.2     Op.70 No.2
   Op.34 No.3     Op.64 No.3     Op.70 No.3
    
8. Which waltzes are generally called "Dog waltz" and "Cat waltz", respectively?
   Op.34 No.1 and Op.34 No.3
   Op.64 No.1 and Op.34 No.3
   Op.64 No.1 and Op.64 No.3
    
9. Which is the most acceptable story about the Dog waltz ("valse du petit chien")?
   During Chopin's stay in Valdemosa, Sand's children brought home a dog Marquis and a cat Valdek. It
        was their chase from which Chopin got the inspiration for the fast part of the waltz and Marquis's bark
        for the slow part (middle section).
   Chopin was inspired by the dogs Marquis and Dib dancing after seeing the opera "Don Giovanni" and
        wrote the waltz based on Marquis's "pas de deux" dances with Dib.
   One evening at her home in Square d'Orleans in Paris, George Sand was amused by her dog chasing
        his tail and asked Chopin to make it to music.
    
10. James Huneker said:
    
         "It is the best-rounded specimen of Chopin's efforts in the form. The prolonged trill, summoning
         to the dance; the intermingling of rhythms, duple and triple; the coquetry hesitations, passionate
         avowal, and the superb coda, with its echoes of the evening - have not these episodes a charm
         beyond compare!"
    
    This remark was about the waltz
    Op.18
    Op.34 No.1
    Op.34 No.3
    Op.42
     
11. To whom did Chopin dedicate the waltz in question 10?
    Mademoiselle Laura Horsford
    Mademoiselle de Thun Hohenstein
    Mademoiselle A. Eichthal
    No one - Chopin made no dedication for that waltz.
     
12. This is the manuscript of the waltz
    
    
    Op.18
    Op.34 No.1
    Op.42
     
13. To whom did Chopin dedicate the set of three waltzes Op.34?
    Mademoiselle de Thun Hohenstein
    Madame la Baronne C. d'Ivry
    Mademoiselle A. Eichthal
    All are correct; Chopin however dedicated each waltz in the set to each lady above.
     
14. Who gathered and published two sets of waltzes Op.69 and 70 ?
    Camille Pleyel
    Emily Elsner
    Julian Fontana
     
15.  The melancholic melodies in the two waltzes Op.69 are associated with the fact that
    Chopin composed both of them in minor keys.
    Chopin composed both of them at the moment he knew that he had to leave his homeland.
    Chopin intended to dedicate each of them to his most close friends Titus Woyciechowski and Wilhelm Kolberg.
    None of the facts above
     

16. The waltz in A flat major Op.69 No.1 had the title "L'adieu" because
    it was dedicated to Emily Elsner as a farewell gift before Chopin left for Paris.
    it was written as a farewell piece to Maria Wodzińska, to whom Chopin was once engaged.
    it reminded Chopin of the beautiful moments with his family in Poland.
     

17. Which statements are true about the three waltzes Op.70?
    They were composed in the same vivacious style.
    They were composed around the same time.
    They were published around the same time.
     

18. Which posthumous waltz has the issue of being associated with the waltz form/genre from its untitled manuscript?
    E minor, Br. 56
    E flat major, Br. 133
    A minor, Br. 150
     

19. All posthumous waltzes
    were composed in Poland before Chopin left for Paris.
    were not composed in the brilliant Paris salon style.
    Both are wrong.
     

20. Which waltz is not included in the final version of the ballet "Les Sylphides"?
    Op.18
    Op.42
    Op.64 No.2
    Op.70 No.1
     

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