Perhaps the first question to ask is why something like this has never happened before. The answer I think is twofold. First, at a very basic level, we offered every composer travel expenses and a small fee for participation. The reality of life for most composers – most artists, indeed – is a freelance one, with all the accompanying financial and time pressures. I have lost count of the conferences I have attended that have included discussion about composers and new music, but composers themselves have been absent or at best represented by one or two people. Covering these costs has meant we have had to make savings to other parts of our programme, not an easy decision at all, but we made a judgment that this advanced listening exercise was a priority.