Jim initially went on programming the concerts from Edinburgh so the first year he booked up who the musicians were and then, I think, found that that was too difficult and I found it pretty difficult because I had no… really, all that I knew was that someone would turn up. I hadn’t been involved in the pre-arrangements and so… it never happened that anyone let us down but I probably didn’t even have a contact phone number to follow up if there was a problem. Diana [Gordon] was a wonderful find. Diana had retired very recently as a producer for Radio 3 and she had a wonderful network with impresarios and agents and she knew who was interesting and some of the people who played in the house, Lindsay Quartet comes to mind, were definitely on her personal network and Diana and I worked together very well, very amicably. She had her domain and really I only encroached on that domain in two ways: one, I put out the chairs and put them away again still and stood up at the beginning and, you know, got hush and then went to the green room to get the performers out but; two, I provided the evening meal for them and so I have had at my table and eating my food the most… funnily enough a far wider and more stellar selection of musicians than of visual artists, considering that Kettle’s Yard is primarily a visual place. That was a very beautiful part of the job and nothing ever took away the enjoyment of the music for me.