Word: metamorphosen
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...graduation from his training in the pre-college division at the Julliard School, a Saturday program with an orchestra, private lessons and chamber music work. Lin has continued his chamber work here, playing with the Brattle Street players, a new campus chamber group, and the Boston-based chamber orchestra Metamorphosen...
...Friday night, Trampler joined Metamorphosen for both Vivaldi's "Concerto No. 3 for Viola d'Amore" and Benjamin Britten's "Lachrymae." While the group itself has evolved, Trampler underwent a true transformation in his two solo outings...
...absence of balance and a conspicuous lack of preparedness marked the Vivaldi. Trampler could only elicit a thin, bare sound from his period instrument even in the most declamatory of the solo passages. Metamorphosen dutifully played the accompaniment--an unusually sharp and pointed one--at exceedingly low volume while Trampler edged along, often missing articulations and intonations. The tuttis, however, brought the booming force of more modern string instruments to bear against Trampler's tiny sound in an almost embarrassing contrast...
Rather than playing a strict accompaniment, Metamorphosen took more of an environmental role. At times, they supplied the mountainous backdrop through which Trampler's determined melodies echoed. In other sections, such as the repeated ascensions that lead to the piece's towering climax, they became a rain-swept storm, resisting or propelling the soloist capriciously...
...Metamorphosen also spun its more impressionistic sounds in the program's opening work, the world premiere of Elena Ruehr's "Shimmer." The title is hardly programmatic, since no word could better describe the texture of the piece (unless the reviewer has unconsciously fallen victim to suggestion). Though the structure of Ruehr's work was difficult to discern, its series of crests and ebbs made use of time-honored techniques of string orchestration. For instance, convincingly brass-like timbres often poured forth from the violas. Apart from an exaggerated consciousness of the piece's beats, especially in the several fugal sections...