The title of my paper expresses the direction rather than the purpose of the observations I am indulgently permitted to offer for your consideration this evening. My proposition may be described as two-fold; in the first place I shall endeavour to show that original and soul-stirring music is not necessarily produced by the studied avoidance of accepted idioms, but rather by the skilful use of figures which have become recognised forms of the language of music; and in the second place it is my desire to protest that, accepting music as a modern art, we are too apt, in contemplating its comparatively recent achievements, to neglect the study of its primary impulses, which, having moved the hearts of all men in all ages, will ever remain the source of all that is true and strong.