Cloud Folk

Cloud Folk (2017)
Psathas’ majestic Cloud Folk makes full use of the many timbres and tones available in the
percussion world, making it a highly fulfilling work for those ensembles who can master
it. Cloud Folk’s soundscape transforms in subtle shades, with the ensemble requiring an
excellent grasp of technique to balance the work’s layers of activity. Elsewhere in the work,
dynamic passages provide platforms for exciting solo material to shine through.
The flickering ostinato rhythm laid down by the shekere and cabasa for Part 1 of Cloud
Folk establishes a pulse that remains virtually unbroken for the rest of the work. Around
this predominantly polyrhythmic pulse—which is performed by a range of instruments
throughout—bells, vibraphone and a low tom build up the texture, with piano and
marimba-driven dynamic surges generating an atmosphere of mystery and anticipation.
Melodic lines played on the piano and doubled by timpani beautifully cut through the
rhythmic bed to converse with lines from the vibraphone and glockenspiel, leading into the
darker second part of Cloud Folk.
Driven by a subtle vibraphone, piano and drum kit groove, Part 2 features a solo from the
second vibraphone, which builds into a marimba and vibraphone duet. More sustained,
atmospheric techniques dominate Part 3 through the eerie timbre of gongs and bowed
vibraphone keys, while Part 4 brings back a version of the earlier soft rhythmic bed,
over which the vibraphone conveys a quiet urgency with its solo passage. Part 5 sees the
ensemble rising and falling in cinematic swells as Cloud Folk reaches its climax, the passage
punctuated by a pummelling tom solo. In coming down from this, a coda thins out the
work’s textures, leaving us with the decaying resonance of the pitched percussion’s parting
chord.
The composer writes:
The Cloud Folk are (imaginary) visitors to earth, invisibly parked in our upper
atmosphere, observing 21st century human behaviour. I’d imagined an arrival driven
PE190 – v