pic source: saligaoserenade.com
Lent is a very special time for every Christian faithful. The 40 days represents the time Jesus spent in the wilderness, enduring the temptation of satan and preparing to begin his ministry. In the Konkani language, Goans commonly use the term ‘korezm’, which is derived from the Portuguese ‘quaresma’, meaning forty – evidently signifying the forty days in imitation of Christ’s sojourn in the desert. Christians are called to prepare for this time through prayer, reflection, penance and charitable works, during Lent.
Goa has a rich tradition of Christian Sacred Music, which helps us to pray more meaningfully. In Goa during lent, all forms of entertainment would come to a standstill. The only form of drama was the ‘Santos Passos’, literally the ‘holy steps’, through which scenes from the passion of Jesus were depicted using large statues. The Jesuit priest, Gaspar Barzeo, is said to have introduced these theatrical-type representations in Goa, in the XVI century. These pious tableaus portraying the Lord’s sufferings were accompanied by the singing of peculiar Lenten songs, which took on a special form, known as the ‘motet’. It is interesting to note that Fr. Barzeo was a close collaborator (assistant) of St. Francis Xavier. Hence, one cannot rule out the hand of our beloved Gõycho Saib in the ‘santos passos’ and in the genesis of the Goan ‘motet’. The rendering of these somber and awe-inspiring chants was inter spaced with reflections on Christian life and morals in the light of the Scriptures, delivered by a priest, who usually employed a rhetorical flair. A young member of the community was trained by the village choir-master (mestre da igreja) to sing the hymn of ‘Veronica’.
It is important to note that the Goan motet is quite different in style, rhythm and harmony from the motet found in other parts of the Catholic world. Some musicologists have opined that the Goan motet, developed by native composers, was the result of a fusion of Western and Eastern musical elements. These motets are unique pieces of Goan Catholic sacred music, and can be considered as a fine example of inculturation of Catholic sacred music in Goa. Originally, they were sung by men alone, in a four voice arrangement. It is to be recalled that till the middle of the XX century, singing in the Church was the prerogative of men. The voice which sang the uppermost notes was called Tiple, followed by the Alto voice (equally high, but lower than the Tiple), then the Tenor and finally the Bass voice. While males are known to sing the Alto, Tenor and Bass voices even today, it is rather interesting to imagine how the Tiple was sung. Either the Tiple singers had very high and fine voices (rather girlish in timbre) like the “sopranist” voices still sung by some in Europe, or they were castrated males, or they used the “falsetto”. The third option appears to be the most plausible.
The instruments used to accompany these sacred chants were carefully chosen: two violins, two clarinets and one rabecão (three stringed double-bass).
Goan motets are indigenous musical compositions of quite high standard, produced by native Goan mestris. The text was biblical and was usually a very short phrase from the passion narrative. . This method can be said to be similar to the Benedictine monastic method of meditation, or even quite near to the Indian mantra-type prayer.
In the present day, only a few parishes in Goa still preserve the tradition of motet singing, in the traditional style. It is a pity that we are gradually losing something that is ours! The tradition of Motet is much older than even Mando- Dulpodam. Hopefully , our present generation helps awakening their parishes to put talents together and to produce edifying and rich music for Lent, in their own parishes.
About The Author: Ms. Deepti Coutinho