Students come and go, and inevitably the constitution of campus choirs and orchestras ebbs and flows.

The best barometer of the music department’s current players is its Chamber Orchestra, currently conducted by John Stringer. On Wednesday’s evidence, they are in rude health.

Richard Strauss’ Metamorphosen, his “study” for 23 solo strings, was completed in 1947 when he was 81. It was once described as possibly the saddest piece of music ever written. Though not a tear-jerker like Barber’s Adagio, it certainly reflects post-war angst.

There was a distilled sorrow in its long prelude for middle voices. Later, even as it boiled towards its angry climax, the full strings remained controlled, united despite their passionate attack, solo voices shrieking above the fray.

The closing bars were rueful, even penitent. At half an hour, it seemed not a moment too long. Dvorak’s Wind Serenade had begun in similar vein, with taut ensemble. But its last two movements were not as clean: folksy, yes, but lacking the concentration achieved earlier.

In Gerald Finzi’s pastoral Eclogue, the pianist, always expressive but never maudlin, was Nicky Losseff. Quite simply, she sang. The strings kept attentive order.

Jennifer Cohen was the engaging soloist in Ibert’s vivid Flute Concerto. Inspiring confidence at once, she developed a lovely legato in the Andante.

In the birdsong-inflected whirligig of a finale, she remained in total control, even in the tricky low-slung cadenza. If the marketing boys get hold of her, she will surely become the Alison Balsom of the flute.