In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Ex Input:
Passage: Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". According to Geoff Emerick, the Beatles' recording engineer, the "major difference" between the two albums was that, with Sgt. Pepper, there was no absolute deadline for completion. Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" made prominent use of Mellotron, a keyboard instrument on which the keys triggered tape-recordings of a variety of instruments, enabling its user to play keyboard parts using those voices."Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance is that record.".

Ex Output:
What is the name of the band that began Sgt. Pepper with "Strawberry Fields Forever," followed by two other songs that were thematically linked to their childhoods?


Ex Input:
Passage: Even in his own homeland the general public was slow to recognise Smetana. As a young composer and pianist he was well regarded in Prague musical circles, and had the approval of Liszt, Proksch and others, but the public's lack of acknowledgement was a principal factor behind his self-imposed exile in Sweden. After his return he was not taken particularly seriously, and was hard put to get audiences for his new works, hence his "prophet without honour" remark after the nearly empty hall and indifferent reception of Richard III and Wallenstein's Camp at Žofín Island in January 1862.Smetana's first noteworthy public success was his initial opera The Brandenburgers in Bohemia, in 1866 when he was already 42 years old. His second opera, The Bartered Bride, survived the unfortunate mistiming of its opening night and became an enduring popular triumph. The different style of his third opera, Dalibor, closer to that of Wagnerian music drama, was not readily understood by the public and was condemned by critics who believed that Czech opera should be based on folk-song. It disappeared from the repertory after only a handful of performances. Thereafter the machinations that accompanied Smetana's tenure as Provisional Theatre conductor restricted his creative output until 1874.
In his final decade, the most fruitful of his compositional career despite his deafness and increasing ill-health, Smetana belatedly received national recognition. Of his later operas, The Two Widows and The Secret were warmly received, while The Kiss was greeted by an "overwhelming ovation". The ceremonial opera Libuše was received with thunderous applause for the composer; by this time (1881) the disputes around his music had declined, and the public was ready to honour him as the founder of Czech music. Nevertheless, the first few performances in October 1882 of an evidently under-rehearsed The Devil's Wall were chaotic, and the composer was left feeling "dishonoured and dispirited." This disappointment was swiftly mitigated by the acclaim that followed the first performance of the complete Má vlast cycle in November: "Everyone rose to his feet and the same storm of unending applause was repeated after each of the six parts ... At the end of Blaník [the final part] the audience was beside itself and the people could not bring themselves to take leave of the composer.".

Ex Output:
What is the last name of the person who was left feeling dishonoured and dispirited?


Ex Input:
Passage: By April 1917 Heseltine had again tired of London life. He returned to Cornwall where he rented a small cottage near the Lawrences, and made a partial peace with the writer. By the summer of 1917, as Allied fortunes in the war stagnated, Heseltine's military exemption came under review; to forestall a possible conscription, in August 1917 he moved to Ireland, taking Puma, with whom he had decided he was, after all, in love.In Ireland Heseltine combined studies of early music with a fascination for Celtic languages, withdrawing for a two-month period to a remote island where Irish was spoken exclusively. Another preoccupation was an increasing fascination with magical and occult practices, an interest first awakened during his Oxford year and revived in Cornwall. A letter to Robert Nichols indicates that at this time he was  "tamper[ing] ... with the science vulgarly known as Black Magic". To his former tutor Colin Taylor, Heseltine enthused about books "full of the most astounding wisdom and illumination"; these works included Eliphas Levi's History of Transcendental Magic, which includes procedures for the invocation of demons. These diversions did not prevent Heseltine from participating in Dublin's cultural life. He met W.B. Yeats, a fellow-enthusiast for the occult, and briefly considered writing an opera based on the 9th-century Celtic folk-tale of Liadain and Curithir. The composer Denis ApIvor has indicated that Heseltine's obsession with the occult was eventually replaced by his studies in religious philosophies, to which he was drawn through membership of a theosophist group in Dublin. Heseltine's interest in this field had originally been aroused by Kaikhosru Sorabji, the composer who had introduced him to the music of Béla Bartók.On 12 May 1918 Heseltine delivered a well-received illustrated lecture, "What Music Is", at Dublin's Abbey Theatre, which included musical excerpts from Bartók, the French composer Paul Ladmirault, and Van Dieren. Heseltine's championing of Van Dieren's music led in August 1918 to a vituperative war of words with the music publisher Winthrop Rogers, over the latter's rejection of several Van Dieren compositions. This dispute stimulated Heseltine's own creative powers, and in his final two weeks in Ireland he wrote ten songs, which later critics have considered  to be  among his finest work.

Ex Output:

What is the last name of the composer who indicated that the man who moved to Ireland to forestall conscription interest in the occult turned into studies in religious philosophies?