Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Claves, Congas, Cowbell, Euphonium, Euphonium T.C., Flute, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2, Percussion 3, Piano and more. - Grade 4

SKU: CF.SPS98

Composed by Megan Vinther. Set of Score and Parts. Duration 4 minutes, 31 seconds. Carl Fischer Music #SPS98. Published by Carl Fischer Music (CF.SPS98).

ISBN 9781491166673. UPC: 680160925728. Key: C minor.

Farallones is inspired by the Greater Farallones National Marine Sanctuary (GFNMS) off the Northern California coast, spanning 3,295 square miles north and west of San Francisco. The Farallones (Spanish for cliffs) are a set of islands that are sometimes referred to as The Devil’s Teeth by mariners, citing the many dangerous underwater shoals and shipwrecks. The first recorded observation of these islands was in 1579 by Sir Frances Drake, with the first reference to the outcroppings as “farallones” written by Spanish Friar Antonio de la Ascension in 1603. The location of the islands and their rugged and ominous appearance likely were responsible for the relatively late discovery by explorers of San Francisco Bay, which didn’t happen until 1769, nearly 200 years after Sir Frances Drake’s expedition. The islands and their natural resources and habitat have been used and exploited in many different ways over the centuries, from the seal fur trade in the early 1800s to a nuclear waste dumping ground in the 1940s–1960s. The islands have been hosts to hunting camps, weather stations, rum runners during prohibition, lighthouse keepers, and even a U.S. Naval station during World War II. The first protections for the area were established in 1981 and expanded over the following decades. Over time, species and habitats have been restored. The Farallones is now home to a beautiful and diverse marine ecosystem that supports many endangered and threatened species. This piece began as a chamber work for a septet that included piano and string bass. When I reworked it for wind ensemble, I left the piano and string bass in the orchestration as a nod to my original (unfinished) chamber piece. The opening section in 7/4 depicts the rugged environment and unpredictability of the swirling currents around the islands. Descending scalar motifs and trills emphasize the fluidity of the seascape. The exploitation of the islands and conflict surrounding the use of natural resources drive the accented passages throughout the piece. The 12/8 section is a development into the resilience and dangerous beauty of the area. Recalled themes and motifs from the first section in an even rather than uneven meter depict the solid future of the ecosystem.