Yes, the music programme was very established. It was funded slightly differently, I can’t remember now, I think its funding came through… it was dedicated funding. It had a very loyal and strong cohort of subscribers, you know, people who came to the concerts. Some of them were very, very old, I do remember this. One or two, I used to think they wouldn’t get in and out of the door, you know, people in their late nineties who’d have to have special chairs with lots of cushions and you know… It was run by a lady called Diana who used to come down from London. Diana used to stay overnight in the bedroom and burn her toast in the morning and set the alarms off. You know, the music audience and the art audience seemed to be very different. It certainly wasn’t what you’d call open access or encouraging people to come who wouldn’t see it as their first and immediate priority. There was no sense of trying to broaden the audience.