Task: Question Generation
Input (English): Passage: Smetana's biographers describe him as physically frail and unimpressive in appearance yet, at least in his youth, he had a joie-de-vivre that women evidently found attractive. He was also excitable, passionate and strong-willed, determined to make his career in music whatever the hardships, over the wishes of his father who wanted him to become a brewer or a civil servant. Throughout his career he stood his ground; when under the severest of criticism for the "Wagnerism" in Dalibor he responded by writing Libuše, even more firmly based on the scale and concept of Wagnerian music drama. His personal life became stressful; his marriage to Bettina was loveless, and effectively broke down altogether in the years of illness and relative poverty towards the end of his life. Little of his relationships with his children is on record, although   on the day that he was transferred to the asylum, Žofie was "crying as though her heart would break".
There is broad agreement among most commentators that Smetana created a canon of Czech opera where none had previously existed, and that he developed a style of music in all his compositions that equated with the emergent Czech national spirit. A modified view is presented by the  music writer Michael Steen, who questions whether "nationalistic music" can in fact exist: "We should recognise that, whereas music is infinitely expressive, on its own it is not good at describing concrete, earthly objects or concepts." He concludes that much is dependent upon what listeners are conditioned to hear.According to the musicologist John Tyrrell, Smetana's close identification with Czech nationalism and the tragic circumstances of his last years, have affected the objectivity of assessments of his work, particularly in his native land. Tyrrell argues that the almost iconic status awarded to Smetana in his homeland "monumentalized him into a figure where any criticism of his life or work was discouraged" by the Czech authorities, even as late as the last part of the 20th century. As a result, Tyrrell claims, a view of Czech music has been propagated that downplays the contributions of contemporaries and successors such as Dvořák, Janáček, Josef Suk and other, lesser known, composers. This is at odds with perceptions in the outside world, where Dvořák is far more frequently played and much better known. Harold Schonberg observes that "Smetana was the one who founded Czech music, but Antonín Dvořák ... was the one who popularized it."Smetana has been regarded in his homeland as the father of Czech music.
Output (English): What are the last names of the three lesser known composers that Tyrrell talks about when he says a view of Czech music has been propagated that downplays the contributions of contemporaries and successors?