Cellist Arlen Hlusko Finds Mesmerizing Beauty in Scott Ordway’s New Solo Suite
Cellist Arlen Hlusko’s new recording of Scott Ordway’s Nineteen Movements for Unaccompanied Cello – streaming at the composer’s music page – is a bundle of contradictions: sprightly and immersive, old and new. Drawing equally on the baroque and current-day minimalism, it’s on the slow, pensive side, but with all sorts of dynamic shifts and demands on extended technique. Hlusko really sinks her teeth – and her bow, and her fingers – into this. It’s quite beautiful in its own austere way, emphatically rooted in the lows. Some of this could be a work for solo bass.
She begins the suite with a stately, minimal, circling baroque-tinged pizzicato theme which instantly reveals the room’s rich natural reverb. She picks up her bow for the echoingly brief second movement, its long, rising tones and harmonically-spiced chords.
Her attack grows spikier and more forceful, occasionally with percussive boom or plucked glissandos, There are a handful of passages with striking low/high contrasts and uneasy close harmonies, as well as one centered around expressive allusions to a well-known Bach theme.
Movement nine has rich contrast between the almost feral attack of the first part and the wistful, wispy ending. From there, Hlusko shifts energetically from increasingly complex, raga-like variations around a pedal note, to aching, slowly crescendoing single-note lines, to what could be a fondly anthemic 19th century folk ballad. Ordway brings the suite full circle as a warmly resonant pavane.