I was sent down from the loft to this room for young boys of my age. We were then sent to a house. There were houses in the ghetto, not just barracks. And the houses in the ghetto had been built for those trades that supported the Army, the Austrian Army in 1780. And they would be anything from tailors to harness- horse-harness makers, repair. Saddlers and you know, people they needed. Not just soldiers, but what the soldiers needed. And they were empty so we got a room. It was very cramped. There were seven of us in a room about this size with three-storey, three-floor bunk beds. And among them, was one Paul Kling. Now, Paul Kling was a wunderkind on the violin. He had performed with the Vienna Philharmonic at the age of seven. And he was fantastic. And because we had no music in our lives, he would practise or play something about… three feet away. There was no room, really. And it was in the Germans’ interest to have musicians practice for their own nefarious purposes. They wanted to show that the ghetto was quite humane. And therefore there was music going on… And he was one of the musicians. And they had a store of Jewish looted instruments, and they distributed some of these instruments in the ghetto. And Paul picked a good violin and a good bow. I understand that a bow is as important as a violin. I’m no expert on that, but he was. And… So it was marvellous to hear him play. Because as I say, he, he – he was a genius and he carried on.