Music is nothing if it is not alive. I happen to have chosen the harpsichord as my instrument—or it has chosen me, I am never quite sure which—and in consequence to have made a special study of the fine and extensive range of music written for it, most of which is largely incomprehensible if played on another instrument. But the music written now must have a far more, vital importance for those who are alive to-day than what is after all “museum” music; therefore I have chosen to speak of the Present and Future of the Harpsichord rather than of its past.