* * * * * Noble Kreider, through the possession of that more exalted sense of beauty and flashing quality of inspiration which illuminates only the rarer musical souls of any period, takes his place with those in the forefront of American musical advance. In this capacity, however, his place is less that of a militant than that of a standard-bearer of ideals of beauty. He has the further distinction of being the only American composer, of first rank at least, who has found the complete expression of his personality and ideals through the medium of the piano, and who, as an inevitable corollary of this circumstance, has more intimately and sympathetically than any other made the piano speak its own proper language. American composers write seriously, and sometimes admirably, for the piano now and then; Kreider lives and breathes through it. It responds to him sensitively and with its whole soul, as it did to Chopin. It has become identified with his imaginative quality. Chopin has, indeed, been the strongest influence in the formation of Kreider's musical character, and while, in his earlier work, nothing was more evident than this fact, in his later nothing is more evident than the emergence of his own individuality. So distinct, however, is Kreider's personality that it is unmistakably present even in much of his earliest music. A mystery and sombreness, as of an influence of the North, foreign to Chopin, dominates certain of his moods; and then Kreider is more of a pagan than Chopin was. The 'Two Legends' (opus 1) have beauty and inspiration, if not a particular distinction of modernity. The 'Ballad' (opus 3) is of heroic and Ossianic cast, restless, like much of Kreider's music, with contained passion--a passion which at times flashes forth in unexpected lightning strokes. A 'Nocturne' (opus 4) is haunting in melody and of an almost Oriental languor. The 'Impromptu' (opus 5) is a darting and upspringing inspiration, with a middle section of great lyrical warmth and beauty. Opus 6 comprises two 'Studies,' both containing a very high quality of beauty with special technical interest. 'Six Preludes' (opus 7) are characteristic, at times Chopinesque, and always fresh and inspirational. The 'Prelude' (opus 8) is a broad and powerful processional of great cumulative dynamic force. 'Three Moods' (opus 9) show the full emergence of the composer's individuality; the second, 'The Valley of White Poppies,' is a rarely perfect and ecstatic inspiration. Opus 10 contains a 'Poem' and a 'Valse Sentimentale.' There is also an unpublished work for 'cello and piano and a very original 'Nocturne.' Kreider's development has been chiefly self-directed. His birthplace and home is Goshen, Indiana. * * * * *