Allen Sapp and his wife Norma presented a delightful recital of music for two pianos in the Kirkland House Junior Common Room Sunday night. Most music of this genre is light, melodious, and not very meaty, and the greater part of Mr. and Mrs. Sapp's program fell into this category.

The opening Bach Sonata certainly cannot be considered among that composer's greatest works. Aside from the poignant Adagio, it's all pretty dull. There is none of the depth and vitality for which Bach's keyboard works are so noted, and the piece did not project very well via the medium of two grand pianos.

Mozart's C major Concerto (K. 467) was an entirely different story. The two-piano arrangement captured the infectious gaiety of the music, and Mrs. Sapp (formerly a teaching fellow in Music 1) played the sole part impeccably. Particularly in the last movement, she exhibited a strong but delicate technique, and her husband supplied a highly sympathetic accompaniment.

The pair then played Mr. Sapp's own Concertino, dedicated to Walter Piston (who supplied the theme of the second movement.) This work, commissioned by Town Hall, has already been played in France and Germany, and last night marked its second local performance. Mr. Sapp, who is now teaching Music 102, uses a jazzy, dissonant idiom which hints at times of Milhaud and Hindemith, but is distinctly his own. Nobody will be whistling any of the tunes, but the work holds together well and indicates real ability. The performance, of course, was authoritative.

The program concluded with a set of variations by Saint-Saens. The piece begins with the simple, lovely, Trio melody from the second movement of Beethoven's Piano Sonata, Opus 31, No. 2. Then follows a series of flashy but inartistic variations, which leads to a restatement of the theme, and a final flourish of octave passages. The work as a whole is typical of those many fluffy compositions by the Frenchman which are fun to watch, fun to play, but certainly not great music.