San Francisco Classical Voice

Thursday night was both the final chamber music performance at the Petaluma Summer Music Festival and the farewell performance of the woman who created the festival 13 years ago, pianist and Cinnabar music director Nina Shuman. On the eve of her departure to join the faculty at the University of Texas, Shuman was honored by a full house as she presented this final program of works for piano and strings.

With an understated nod to her players, Shuman began the Mozart piano quartet in Eb, K.493 and wove seamless melodic lines through the opening Allegro. Although a dry acoustic muted the strings, vibrant playing from cellist Gwyneth Davis created a foundation rich as a velvet carpet.

Featured in the Larghetto movement, violinist Karen Shinozaki brought sweetness to her solos. Together, with Shuman's gentle touch at the keyboard, their interpretation could not have been more pleasing. Those who mistake the clarity of Mozart's writing for simple music should know that Mozart is difficult to play well. Bold, whimsical performances are usually the most successful, but aside from individual shining moments, this ensemble's approach was one of caution. The playing was beautiful but not daring enough to be interesting.

Violinist Shinozaki, whose impressive resume includes a semifinal finish at the Paganini International Violin Competition, is an almost motionless player. Her confident accuracy and silver tone are attractive to the ear and a testament of her fine artistry. More in her element with 19th century music, she approached Gabriel Fauré's Quartet in C minor, Op. 15, with gusto. The now fired-up ensemble pulled Brahmsian richness from their instruments and filled the room with a powerful blend of sound. In the Scherzo movement, each musician showed personality, especially where, reflecting the humor of the piece, themes were handed from one instrument to another.

The highlight of the program was Anton Dvorak's Quintet in A, Op. 81. Davis' heartfelt cello solo was followed by brilliant unisons between violins and heightened activity in the viola part, played by Beth Heid. While the two violinists, Shinozaki joined by Susannah Barley, played with refined intonation and compatible richness, the mix became treble-heavy and I constantly wished to hear more from the cello.

In the sometimes melancholy, sometimes energetic Dumka occurred an interesting moment where the violin dropped to its lowest register to accompany the viola, playing the melody in its highest register. An exceptionally beautiful ending to this movement brought sighs from the audience.

Shuman shot a mischievous look towards her players as she jumped into the final Allegro, as if challenging them, and the strength and wit of the ensemble shone. Davis whomped out the recurring theme "WHA-wa-wa" with abandon, and the group juggled the melodies and passagework with sheer pleasure. Unison scales from the string quartet led to a point where it seemed that the pianist, Shuman, would have the final word; but, as if changing his mind, Dvorák handed the close back to the strings. It was a sweet ending to a long program and the players were met with a standing ovation.

(Cynthia Albers is a violinist and teacher residing in rural Sonoma County. She performs with the Philharmonia Baroque Orchestra, American Bach Soloists, and is a graduate of the Indiana University School of Music.)

©2000 Cynthia Albers, all rights reserved