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For the Juan Bautista de Anza Trail Guide, every effort was made
to create audio tracks that were as authentic as possible in representing
this early California music. They are as close to what was heard
in 1775-1776 as is currently known. The sounds were recorded on,
or near, the Anza Trail itself. For most counties described in the
guidebook, there is a section called "On the CD" in which you can
learn more about the audio tracks on the CD, and why they are relevant
to the Juan Bautista de Anza National Historic Trail. Listen to
the tracks several times and come to an understanding of why each
one includes the sounds it does. This can be made easier by reading
the "On the CD" sections. Many of the tracks are complex and contain
several songs and sounds. The tracks can be broken down into parts,
and each listener can be responsible for understanding a different
set of sounds. The audio tracks are described below, with credits
given to those who were recorded. Use the songs to suit your needs,
giving credit to the Anza Trail Guide, the National Park Service,
and the artist as appropriate. Most of all, enjoy listening to the
recordings.
In addition to the individual tracks referenced from the county
pages, all of the tracks are assembled together in a single playable
list on the Trail Guide Audio Files
page.
Santa Cruz (Tracks 1 and 2)
The Introduction to the CD was made by Donald T. Garate,
Anza historian and Chief of Interpretation at Tumacácori National
Historic Park. This is fitting for many reasons, not the least of
which is that Anza's Trail within today's U.S. starts near the park
and the expedition's final assembly point was within a few miles
at Tubac. Don has studied Anza's family, and the history of the
early West, for many years, and portrays Juan Bautista de Anza (Jr.)
in reenactments. He has written many publications on these subjects.
Like Anza, he is of Basque descent, and has worked with many of
the local American Indian groups. He therefore has a personal connection
to the interrelationships between the various cultural and ethnic
groups during Anza's time. The interview is from a "field recording"
outside of his office, and within sight of the Mission Tumacácori.
It is meant to be a bit rough in audio quality.
The Alabado is specifically mentioned by Father Font as one
of the songs sung by the colonists. This track has been put together
from a recording of a chant version made by John Warren of the New
World Baroque Orchestra, as well as a choral and instrumental version
made by Calicanto. Lance Beeson provided the hauntingly beautiful
solo guitar. See the sheet music (musical score) for the Alabado
in printer-friendly pdf format. Hear
these audio tracks and learn more about the recordings for Santa
Cruz County.
Pima (Track 3)
Birth and Death combines the sound of a newborn baby with
the song chanted by the group after the death (at La Canoa) of the
infant boy's mother, María Ignacia Manuela Piñuelas Féliz. Father
Font says the name of the song was the Salve de la Virgen de
los Dolores, but it is uncertain which song this actually was
at the time. Lance Beeson played a guitar version of "A
la Virgen de los Dolores", and John Warren sang a version
of Salve
Regina that comes from the Mission music book at San Juan
Bautista. Both these melodies have a link to what Font referred
to in his diary while he was in today's Pima county. While burying
Manuela Feliz at Mission San Xavier del Bac, the Tohono O'odham
Language was likely to have been heard. The "Sunrise"
song, performed by Lance Beeson, is from a book by Frances Densmore
(Frances Densmore, Papago Music, Smithsonian Institution
Bureau of American Ethnology Bulletin 90, Washington, D. C.: Government
Printing Office, 1929). Linguist David Shaul and John M. Ignacio
(of the Tohono O'odham) recorded the native words heard in the track.
Rupert Encinas of the Tohono O'odham provided tapes made from wax
cylinder recordings corresponding to Densmore's book so the musical
validity of the music could be checked. The kindness, generosity
and patience of the O'odham people, both in Anza's time and in our
own, cannot be overstated. Hear
this audio track and learn more about the recordings for Pima
County.
Pinal (Track 5)
The Casa Grande was visited (and measured) by Father Font and Captain
Anza during a side trip made while the rest of the expedition rested
nearby. The "Song After the Inhabitants of Casa Grande were Killed"
is related to the legend that they were told by an O’odham interpreter.
It is performed (flute) by Noel Milburn. This song was also found
in Densmore's book, Papago Music.
Music for Fandango - Violinist Ron Kiel of the New World
Baroque Orchestra performed La Merlequina from the Joseph
María García manuscript (Chalco, Mexico 1772). This manuscript includes
extremely popular tunes known throughout the Old and New Worlds.
The manuscript is in the Special Collections of the Braun Research
Library in the Autry/Southwest Museum, Los Angeles, California.
(Joseph Maria Garcia, ca 1772 is found in the Eleanor Hague Collection,
Southwest Museum, MS 203. It is a copybook containing 298 melodies,
76 with figures of country dances in a manuscript of 100 lvs., Chalco,
Mexico, 1772.) While the exact songs played during the fandangos
are unknown, those written down by Joseph María García were certainly
known to members of the Anza Party, just as music of The Beatles
or Elvis Presley is known to everyone today. Hear
this audio track and learn more about the recordings for Pinal
County.
Maricopa
Heard in Maricopa was certainly the Cocomaricopa language
and songs. While Font mentions that their singing was in a “funereal
key”, the exact meaning of this is unclear. While no audio track
is recorded for these people, the tribe (now called the Maricopa)
remains among the O’odham and elsewhere. One can only imagine what
the expedition could have heard.
Yuma (Track 6)
Yuman music and history includes Singing Braying Burros and Mule
and a Yuma Memorial song (on flute), performed by Lance Beeson.
The music comes from a book by Frances Densmore (Frances Densmore,
Yuman and Yaqui Music, Smithsonian Institution Bureau of
American Ethnology Bulletin 110, Washington, D. C.: Government Printing
Office, 1932). In his diaries, Fr. Font mentions that the members
of the Quechan liked to hear the mules and burros bray, and, because
of this, he thought of these people as “simple”. It is exactly this
underestimation by the government of the Spanish Empire that led
directly to the closure of the Anza Trail. The Quechan at Yuma,
so friendly and helpful to Anza and his expeditions, were angered
by the treatment they received from Spanish subjects that came after
Anza, and they revolted. They destroyed a presidio and two missions,
and killed Father Garcés, three other priests, and many others including
Fernando de Rivera y Moncada. Rivera y Moncada was in the process
of bringing settlers, soldiers and 1000 head of livestock (from
Sonora) for the founding of the Pueblo of Los Angeles (1781) and
the Presidio of Santa Bárbara (founded in 1782). During his first
expedition (1774), Anza had been invited to a Quechan funeral. It
is therefore fitting that a Quechan Memorial (funeral) song is used
on this Audio Track to represent a foreshadowing of the death of
Anza’s Trail and of Rivera y Moncada. The mules were recorded at
the San Francisco Presidio during an Anza reenactment, and are owned
by Mr. Jack Wilding of the Mellow Mule Company in Hayward, California.
He patiently explained how he breeds, manages and packs these animals,
and how critical they were to the success of Anza’s expeditions.
Hear this audio track and
learn more about the recordings for Yuma County.
Imperial County (Track 7)
Desert Fandangos includes Cattle on the Move,
Chacona, "To the Good Life", by Juan Arañés,
and El Minuet de Quattro (Cuatro), both performed (guitar
solo) by Lance Beeson. The Minuet is from the Joseph María
García manuscript, ca. 1772. The cattle were recorded on November
5, 2003 during an actual cattle drive in the village of la
Playa de Ocoroni in the Mexican state of Sinaloa near Villa
de Sinaloa (Sinaloa de Leyva), the town where Anza recruited
many of the expedition’s families. After an introduction was
made to modern-day Vaquero Paul Rivera, by Rina Cuellar Zazueta
(Archivo Histórico, Culiacán, Sinaloa), he kindly helped me
to record the Audio Track. In many places in Sonora, Sinaloa
and along the Juan Bautista de Anza National Historic Trail
(in the U.S.) the human drama, so familiar to Anza, is still
being played out. It is there for those who take the time
to look and listen. Hear
this audio track and learn more about the recordings for
Imperial County.
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Perhaps this is a descendant of Anza's Cows.
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Photo: Greg
Smestad |
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San Diego and Riverside (Track 8)
Santa Catarina Springs (The Springs and Coyote Creek) is
combined with the audio track for Riverside County. This was a field
recording at the creek that Anza and the colonists followed northward.
Fandango and Nativity includes La Xameico (Joseph
María García manuscript, 1772, performed on violin by Ron Kiel),
and Pedida de la Posada (performed by Calicanto). Hear
this audio track and learn more about the recordings for San
Diego and Riverside Counties.
Los Angeles (Track 9)
The Morning Hymn of the Missions was El Cántico Del Alba,
which is often confused with the Alabado. Both were performed
by the multi-talented Anza Expedition descendant Lance Beeson
on the Psalterio (Psaltery), the type of instrument actually
carried on the expedition and played by Father Font. Both songs
are described in a book by Owen da Silva (Owen da Silva, Mission
Music of California: A Collection of Old California Mission
Hymns and Masses, Los Angeles: Warren F. Lewis, 1954). Hear
this audio track and learn more about the recordings for
Los Angeles County. See the sheet music (musical score) for
the Alabado
in printer-friendly pdf format. |
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Psaltery similar to the one carried
(and played) by Father Font
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Photo: Greg
Smestad |
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Ventura and Santa Barbara (Track 10)
Listen to Chumash descendant Michael Phillips as he describes
his people, their technology and way of life and their music. Anza
and Fr. Font were as impressed as you will be. Hear
this audio track and learn more about the recordings for Ventura
and Santa Barbara Counties.
San Luis Obispo and Monterey (Track 11)
Carpenter Birds (Woodpeckers) are from a field recording
in Santa Barbara (in the park in back of the Mission). An excerpt
of the Te Deum chant (song of thanksgiving and praise) was
sung by John Warren of the New World Baroque Orchestra. The version
here is from a book at the Mission Santa Clara Archives containing
the writing of Fr. Florencio Ibañez. (See a biography
of Father Florencio Ibañez, opening in a new window.)
Hear this audio track
and learn more about the recordings for San Luis Obispo and Monterey
Counties.
Te Deum page from the Mission
Music Book,
Santa Clara University Archives |
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Te Deum transcription from
the
Santa Clara University Archives |
Click to see enlarged image of the
Te
Deum from the Santa Clara
University Archives.
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Click to see Dr. Keith Paulson-Thorp's
transcription of the Santa Clara
University Te
Deum.
View Dr. Keith Paulson-Thorp's
transcription of the Santa Clara
University Te
Deum in pdf format.
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San Benito (Track 12)
The Mutsun recording was made by Quirina Luna-Costillas of
the Mutsun Language Foundation. We are grateful to this dedicated
tribal leader, mother and linguist. Hear
this audio track and learn more about the recordings for San
Benito County.
Santa Clara (Track 13)
About Henry Coe State Park includes actual Sounds of Horses
Crossing Coyote Creek there and Crickets in the park.
State Park Ranger, Barry Breckling was interviewed at the park.
Anza knew the Coyote Creek at Henry Coe and the one at Anza Borrego
State Parks. Hear this
audio track and learn more about the recordings for Santa Clara
County.
San Mateo (Track 14)
Alan K. Brown tells the Story of the Bear of San Mateo. The
Flintlock Rifle Gunfire was authentic and was provided by
Sargento Jim Martínez and Soldado Mike Hardwick of Los Soldados
of the Royal Presidio of Santa Bárbara. The sounds of the Bear came
from the display at the Monterey State Historic Park (at the Pacific
House). Hear this audio track
and learn more about the recordings for San Mateo County.
San Francisco (Track 15)
Waves crashing at Fort Point, and Sea Lions in the bay, was
an authentic field recording made on location. Marcha Real
was performed by Calicanto. The Mission Bells were those
of Mission San Antonio, as rung by John Warren. ¡Ay Susanita!
was performed by Calicanto. Cable Car Bells is an actual
bell at the gracious home of Mrs. Robin G. Mitchell in Calabasas.
See the sheet music (musical score) for Marcha
Real and ¡Ay
Susanita! in printer-friendly pdf format.
Hear this audio track and learn more about the recordings for
San Francisco County.
Alameda
Imagine the buzzing Mosquitos, and the Au, Au, Au
and vigorous thigh slapping of the local American Indians (the tribe
was the Chocheno). Fr. Font described both sounds in his diary.
Contra Costa (Track 16)
The Bay Miwok language was recorded during an interview of
Catherine A. Callaghan, Ph.D. of Ohio State University. She told
me that she was doing this interview in the name of her father,
who told her that education was the most important thing that a
person could give to another. There is no way to convey the dedication
and perseverance of this kind and thoughtful woman whose contributions
to American Indians are so numerous that they would fill volumes
of books and CDs. Hear
this audio track and learn more about the recordings for Contra
Costa County.
Finale (Track 17)
A song about the 1775-1776 expedition (To Alta California)
written and performed by Don Garate can be heard on this track.
Though it is a “new” and contemporary piece, it is certainly useful
in inspiring further learning about history. See the sheet
music (musical score) for the song To Alta California
in printer-friendly pdf format. Hear this audio
track, as well as all the other tracks, in the playable list available
on the Trail Guide Audio Files page.
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