Music of the California Missions

Cantar Quiero

NOTES ON THE MUSIC

While it is difficult to overlook the destruction of native cultures that accompanied the Spanish conquest of the Americas, it is still possible to evaluate more objectively the artistic contributions of the Franciscan friars who developed the California missions. Interest in the visual and musical arts imported by the friars was a primary means of attracting the native people to the mission compounds.

The friars were a talented and dedicated group. They were charged not only with the conversion and spiritual guidance of thousands of indigenous Californians, but also with the training in all the necessary crafts and arts that were needed to implant European culture in a new land. These included such skills as architecture, engineering, animal husbandry, and agriculture. Like their predecessors, who introduced European music to the missions of New Mexico as early as the 1630s, some of them brought their memories of extravagant liturgies in Spanish and Mexican churches and a desire to establish a similarly respectable musical practice in their new locale.

Music was an integral part of life in all the missions, from the alabados (hymns of praise with which the day commenced and concluded) to the Mass and devotional songs that marked the day’s activities. For the liturgical services in the mission churches, the Indians were taught to sing in the European manner and to accompany with European instruments. Many of these instruments for the missions were made locally from available materials, using Spanish and Mexican originals as models.

Of the dozens of chant books in use at the time of the secularization of the missions in 1834, more than a dozen still remain, scattered in archives throughout California. In various states of preservation, they suggest a repertoire that was carefully preserved and disseminated.

The musicians involved on this project can directly or indirectly trace their genealogy to the peoples who populated the Californias generations ago. Fr. Junípero Serra, founder of the California Missions, presided at Eileen Bonaduce’s great, great, great, great grandmother’s celebration of the Sacrament of Confirmation.

Thanks to . . .

Teri Schwartz, Dean of Loyola Marymount University School of Film and Television; Mladen Milicevic, Professor of Recording Arts; and Douglas Freeman, Sound Engineer at Loyola Marymount University, for the generous use of the recording facilities at the university.

To all who supported the mission and vision of this endeavor, especially Dr. Keith Paulson-Thorp, whose musical expertise and painstaking care in the transcription and interpretation of the original scores bring this music to life.

To Kathleen and David Aikenhead and the Hannon Foundation, for their support of the research that made this project possible.

To Gary Daigle, Tom Kendzia, and Marty Haugen, whose musical advice, wisdom—and most especially friendship—are deeply appreciated.

To Paul Bernadicou, S.J. and the Jesuit community at LMU, for their generous support and care throughout the making of this music.

To Mary Prete, Ron Rendek, and the folks at WLP, for recognizing the value, possibilities, and intrinsic beauty of this exquisite music. Conveying it from its ancient sources to your ears connects musicians across centuries of time and space.

Most especially to Kathy, my partner and soulmate on this journey. For the constant patience, love, support, and understanding that you constantly and unselfishly give to me and our children, Clare, Kennith, James, Colin and Aidan, I am every day thankful that God has graced my life with you.

This collection is dedicated with love in remembrance of Helen Pohlman (1916–2005) and Carlos Mendez (1940–2005), two of our companions on the journey who, during the recording of this project, went home to see God face to face and live forever in eternal glory. —John Flaherty

Special thanks go to Pat Livingston of the Santa Barbara Mission Archive-Library, without whose generous assistance, my research—and this collection—would not have been possible; and to the choristers of Old Mission Santa Barbara, who, during my tenure as their director, patiently and enthusiastically helped to bring this remarkable music back to life in its original setting. A finer group of people I have never known. —Dr. Keith Paulson-Thorp

Acknowledgments

Producer & Director: John Flaherty

Associate Producers: Ron Schmidt, S.J., Luis Proenca, S.J.

Executive Producer: World Library Publications

Recording Engineer: Joe Bellamy

Production Assistants: Kennith Flaherty, James Flaherty, Josh Greenberg, Michael McNaught

Choir/Schola Director: Keith Paulson-Thorp

Bombo Leguero, Tjembé, Pezuñas, Zurdo, Maracas, Triangle, Caxixi, Shaker, Bongo, Hand claps: Juan Estanga

Triangle: Mary Janus

Transverse flute, Wooden flutes: Michael Acosta

Guitar: Daniel Delgado

Schola: Anna Betancourt, Miriam Camarena , Andrea Drollinger, James Drollinger, Dominic MacAller, José Murillo, Keith Paulson-Thorp, Frances Garcia, Patrick Zubiate

Women’s Quartet: Anna Betancourt, Miriam Camarena, Andrea Drollinger, Monica Rangel-Santos

Lautenwerk, Chamber organ, Violin, Viola, Vocals: Keith Paulson-Thorp

Violin: Modesto Marcano

Cello: Jeness Johnson

Handbell Choir: Anna Betancourt, Miriam Camarena, James Drollinger, Patrick Zubiate

Choir: Roberto Alcaraz, Anna Betancourt, Eileen Bonaduce, Miriam Camarena, H. James Drollinger, Frank Echeverri, Frances Garcia, Andrea Furtivo, Dolores Gomez, José Murillo, Monica Rangel-Santos, Alan Pinel,
Suzette M. Sornborger, Patrick Zubiate

This CD was recorded at Peace in the Valley Studios, Arleta, California and Loyola Marymount University,
Los Angeles, California.

Mixed and mastered at Peace in the Valley Studios.

All vocal scores are transcribed, adapted, and arranged by Keith Paulson-Thorp.

All string parts are composed and arranged by Keith Paulson-Thorp.

Cover painting: Mission at San Gabriel by Ferdinand Deppe, 1794-1861.
Courtesy of Santa Barbara Mission Archive-Library. Used by permission.

Photo of painting by Chris Wilson.

Design and layout: Christine Enault

Some volumes are beautifully copied and bound; others are rather rudimentary, reflecting the shortage of resources during the years of the Mexican War of Independence, when supply shipments were abruptly halted.

The padres employed a flexible system of musical notation, derived from Spanish parochial practice, which conserved paper and at the same time allowed interpretation of the music by the unpredictable resources available at the different missions. Some padres received musical training before coming to California, and some even brought with them manuscripts of pieces they liked or thought might be useful in their duties. Most of these surviving manuscripts are not ascribed and their authorship remains uncertain. Those scores whose authorship has been confirmed were written by some of the most brilliant composers of the day, including Ignacio de Jerusalén, music director of the Mexico City cathedral. Other works may be by Martin Francisco de Cruzalegui, music director of the Colegio San Fernando in Mexico City, from which were prepared and dispatched all of the early padres. Cruzalegui was a personal friend of Junípero Serra, founder of the California missions.

As one would expect, music of the missions is generally fairly simple in design, making it easy to teach to a population with virtually no exposure to European soundcraft. For the most part the music is not intended to make an artistic splash, but simply to embellish and add dignity to the liturgical service and to the lives of those who would hear it. This sturdy simplicity allows the music extended use without becoming tiring. Of the music set in Latin, there are some two dozen settings of the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus, and Agnus Dei). The annual cycle of chant also survives, much of it simplified and frequently metered, making it easier to learn and sing. Many items are not based on the Gregorian melodies but rather are newly composed. In certain cases a single chant may be adapted to multiple texts to allow maximum use. More important texts are set for multiple voice parts. Perhaps most interesting is the repertoire of music in Spanish suitable for private or group devotions. These exhibit characteristics of Hispanic folksong with memorable melodies and lively rhythms.

TEXTS AND TRANSLATIONS

Dios Te Salve, Reyna y Madre—Office Hymn to the Blessed Virgin Mary

Many chant versions survive of the Salve Regina, some derived from those in the principal chant collections of the Catholic Church and others newly composed. This unusual four-part setting was widely disseminated in early California. The chant tone that forms the basis of this setting remained in vogue long after the mission period, and was adapted to other texts, such as the alabado, by congregations of sisters in California. The metric irregularities make it a particularly attractive piece, and it was likely challenging for the original users to learn, though daily repetition doubtless helped the native people assimilate the Spanish liturgical stylemore rapidly.

Dios te salve, Reyna y Madre de Misericordia, vida y dulzura, esperanza nuestra; Dios te salve.

A ti llamámos, los desterrados hijos de Eva. A ti suspiramos, gimiendo y llorando en este
valle de lágrimas.

E a pues, Señora Abogada nuestra, vuelve a nosotros esos tus ojos misericordiosos.

Y despues de este destierro, muéstranos a Jesús, fruto bendito de tu vientre.

¡Oh clementísima! ¡Oh piadosa! ¡Oh dulce Virgen María!

Ruega por nos, Santa Madre de Dios, para que seamos dignos de alcanzar las promesas de Jesucristo.
¡Amén, Jesús!

Hail, holy Queen, Mother of Mercy, our life, our sweetness, and our hope: God salute you.

To you do we cry, poor banished children of Eve; to you do we send up our sighs, mourning and
weeping in this valley of tears.

And then, our Advocate, turn your eyes mercifully toward us. And after this, our exile, show us the
blessed fruit of your womb, Jesus.

O most clement, O most loving, O sweet Virgin Mary! Pray for us, Holy Mother of God, that we
may be worthy to partake of the promises of Christ Jesus. Amen, Jesus!

For you alone are the Holy One,
you alone are the Lord Most High,
Jesus Christ,
with the Holy Spirit,
in the glory of God the Father. Amen.

Sanctus:
Holy, holy, holy Lord, God of power and might.
Heaven and earth are full of your glory.
Hosanna, hosanna, hosanna in excelsis.
Blessed is he who comes, who comes in the name of the Lord.
Hosanna, hosanna, hosanna, hosanna,
hosanna in excelsis.

Memorial Acclamation:
Dying you destroyed our death,
Rising you restore our life.
Lord Jesus, come in glory.

Great Amen:
Amen! Amen! Amen!

Agnus Dei:
Agnus Dei, you take away the sins of the world: have mercy on us.

Principe de Paz, you take away the sins of the world: have mercy on us.

Bread of Life, you take away the sins of the world: have mercy on us.

Agnus Dei, you take away the sins of the world: grant us peace; grant us your peace.

Misa Sabatina o de la Virgen—Ordinary of the Mass

This is one of the simpler and more musically unified of the more than twenty settings of the Mass Ordinary used in the California missions. It was intended for Saturdays and feasts in honor of the Blessed Virgin. It has been transcribed and adapted for modern usage, in which form it was reintroduced at Mission Santa Barbara in 2003. The simplicity of this setting makes it adaptable to a wide spectrum of performance possibilities, something essential for music that would be employed in missions of varying sizes and with varying musical resources.

Kyrie:
Kyrie eleison; Christe eleison; Kyrie eleison.

Lord, have mercy; Christ, have mercy; Lord, have mercy.

Gloria:
Gloria in excelsis Deo.

Glory to God in the highest,
peace to his people on earth.

Lord God, heavenly King,
almighty God and Father,
we worship you, we give you thanks,
we praise you for your glory.

Glory to God in the highest,
peace to his people on earth.

Lord Jesus Christ, only Son of the Father,
Lord God, Lamb of God,
you take away the sins of the world:
have mercy on us.
you are seated at God’s right hand:
Receive our prayer.

El Cántico del Alba—Morning Hymn

The morning hymn at the missions exists in two versions, neither with impeccable pedigree, neither surviving in period manuscripts. Both are based on the vocal recollection of native singers almost eight decades after the fact. The Capistrano version, heard here, has slightly more verifiable roots. It is notated from the singing of one of the mission choristers, who had learned the song as a child in the San Juan choir. The other version was included in Owen DaSilva’s 1940 collection of mission music, and has subsequently been widely accepted and promulgated. The editor has also reconciled textual discrepancies between the various versions.

1.
Ya viene el alba, rayando el día;
daremos gracias con alegría.

Now breaks the dawn light, bringing a new day;
with thankful voices, in joy we now pray.

2.
Nació María para consuelo, de pecadores, y luz del cielo.

Thus was Maria, for us poor sinners,
born, to bring comfort, light from the heavens.

3.
Digamos todos con eficacia:

Ave María, llena de gracia.
Let all proclaim now with hearty voices:
Hail, Virgin Mary, Mother of graces.

4.
¡Viva Jesús! ¡Viva María!
¡Viva tambien la luz del día!

Give praise to Jesus and praise to Mary,
and also praises for daylight’s coming!