The current series of Harvard Composers' concerts concluded on Wednesday night with compositions of seasonal buoyancy and spirit.

John Austin '56 has divided his Piano Suite for Children into brief sections whose charm lies in their simplicity. Occasionally he takes the title too literally and the result (as in Chorale and Play) is merely pretty salon music. But the movements Song and Duet have a quietly reflective beauty that pervades the suite as a whole.

Three Songs by Russell Woollen 1G provide their singer with a graceful and often intensely emotional part. The accompaniment, while full and eminently pianistic, never interferes with the voice. Father Woollen uses dissonance sparingly, most often to underscore dramatic phrases in the text.

John Davison's Four Songs to Poems by George Herbert might have made a better impression had they been transposed. Although Jean Lunn '55 had sung Father Woollen's songs well, the Davison selections lay mostly in her weak upper-middle range; breathy tone lent little conviction to his spare melodic lines.

It is a pity that in The Animal Kingdom Norman Shapiro 3G should have wasted his talent on some of Ogden Nash's worst poetry. The verses are far too brief for any significant musical development, and their "humor" unrelentingly witless. Perhaps in the future Shapiro will apply his obvious skill to more worthy material.

Freshman John Perkins was piano soloist in his own Seven Experimental Preludes. It is hard to judge what he was experimenting with, since so much follows tried-and-true devices of harmony and rhythm. Yet despite the occasional cliches, Perkins' music has conciseness and proportion that looks forward to future achievement.