Of the four contemporary works in Sunday night's Paine Hall concert, it is difficult to predict which will emerge as really significant music. All of the pieces must be heard many times more, and the Harvard and Radcliffe Music Clubs deserve credit for playing such things instead of the more appealing parts of the chamber repertories.

Two of the very competent group of performers were outstanding. Paul DesMarais played Copland's difficult Variations for Piano with finesse and precision. The work consists of a theme, eighteen separate but closely related variations, and a coda, and seems to be an intellectual exercise as much as an expression of emotion. Possibly the best work on the program, it abounds in sudden shifts of tempo, tonalities, and dynamics.

Ronald Roseman's oboe playing in Hindemith's Sonata for Oboe and Piano was the best in months. His flawless technique and intelligent phrasing made the Sonata sound perhaps even better than it is. Gilda Hoffman's handling of the tricky piano parts was more than adequate.

Walter Piston made one of his rare appearances on the concert stage when he conducted his won Divertimento for Nine Instruments. After a puzzling first movement came a subdued middle section and a spirited finale which was also played as an encore. The ensemble performed well, but not brilliantly.

The opening Hindemith Pieces for Advanced Players in the First Position did not sound particularly impressive upon first hearing. There are the usual interesting harmonies, but the work as a whole seemed in detrimental, to say the least. Perhaps this opinion will change with further hearings, and the same is true of the rest of the program.