The small church of Den Hoorn, dating from the fifteenth century, can be seen from afar amidst the vast corn and bulb fields. From whichever side you come, the beautiful, slender tower rises high above the flat island of Texel. This summer, classical concerts are organised here every Sunday afternoon and evening. Because of the measures, only half of the capacity of the small church can be used. With 50 visitors, the concert by Anastasia Feruleva (cello) and Frank van der Laar (piano) is sold out.
The musicians enter through the consistory door and open with the five-movement Italian Suite (1933) by Igor Stravinsky (1882 – 1971). The combination of the Rombouts cello from 1710 and the acoustics of the high church is enchanting. The deep tones seem to rise from the bowels of the earth and in the higher registers Feruleva produces powerful melody lines.
After the first piece, Frank van Laar reflects on the enormous impact this pandemic is having on cultural life. The pianist compares this era with that of a hundred years ago. In the Paris salon of Lili and Nadia Boulangier artists discussed the direction the arts should take. Many Russian musicians also lived in Paris at that time. Last spring, Van Laar and Feruleva recorded the album L’Esprit du Temps with music by Igor Stravinsky, Lili and Nadia Boulangier and George Enescu. For this afternoon in Den Hoorn, they have chosen an entirely Russian programme.
The duo continues with two short works (‘Chanson Triste’ and ‘Humoresque’) by Anton Arensky (1861- 1906). In his short life, he did not write much (He preferred frequenting casinos), but what he did write, was beautiful.
The least known composer of this afternoon is Boris Arapov (1905 – 1992). His Sonata from 1985 is both captivating and alienating. This three-movement work gives Feruleva the opportunity to use the possibilities of her instrument to the full. Halfway through the second movement, the heavy door behind the pianist hesitantly opens and closes again. Van Laar looks up briefly in dismay, but the thought that an unknown person is rummaging around in his makeshift dressing room is apparently not disconcerting enough to be audibly distracted.
Feruleva plays the final piece ‘Pezzo capriccioso’ by Tchaikovsky (1840 – 1893) by heart. The inspired Russian sounds of her Rombouts cello resonate harmoniously in the wooden interior of the old church in Den Hoorn.