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Centuries-old Renaissance sacred music echoes again in Goa churches
Goa revives centuries-old motets, blending Western sacred music and local traditions, as churches bring back Lenten hymns during Holy Week.
As dusk settled over the neo-Gothic styled Mae de Deus Church, strains of a centuries-old motet— sacred music popular during Renaissance-era—rose once again, signalling a quiet cultural revival in Goa. Long relegated to fading memory, these deeply meditative Lenten (sacred musical) compositions, once central to Holy Week observances, are now being rediscovered and revived by a new generation of choirs in this church in north Goa’s Saligao.
These evocative compositions, rooted in passages from the Bible, recount the suffering and death of Jesus Christ through layered, polyphonic harmonies known as motets. Once an integral part of Lenten liturgy in Goa, this musical tradition had gradually slipped into decline but is now being revived.
One such motet, Udkacho Hunvar Zala (“a flood of water”), reflects on the moment a Roman soldier pierced Christ’s side, causing blood and water to flow—a powerful image drawn from the Gospel narrative. It is among hundreds of Latin and Konkani motets that were historically performed during the solemn Lenten season, culminating in Holy Week, which commemorates the Passion of Christ (final period of Jesus' life) ahead of Easter.
Today, however, only a fraction of these compositions survive—some preserved through oral tradition, others found in handwritten notes left behind by past mestres (choir masters). With just a handful of churches maintaining an unbroken practice of singing motets during Holy Week, efforts to document and revive this fading repertoire have taken on renewed urgency.
The Motet tradition
“Motets are passages from the Bible or literature relating to the Passion of Christ, rendered in soulful voices that tell of suffering and death, sung repeatedly to help devotees in prayer and reflection,” Goa-based historian of religion and religious art Frazer Andrade said.
Motets originated in medieval Europe and grew to prominence during the Renaissance and Baroque periods as a key form of sacred vocal music. They were introduced to Goa by European clergymen, who brought Latin compositions to local churches. Characterised by intricate, polyphonic arrangements performed largely a cappella (vocal music without instrumental accompaniment), motets suited Goa’s Lenten traditions, where processions featuring larger-than-life statues reenact the Passion of Christ through the village streets. While evolving musical forms like opera gained popularity in Europe, Goa continued to preserve and nurture the motet tradition, allowing it to endure across centuries.
“In Goa during Lent (Christian season), all forms of entertainment would come to a standstill. The only form of drama was the ‘Santos Passos’ (a penitential procession depicting the ordeal and involving the ‘contemplation on the sufferings of Jesus’ as he journeyed to his crucifixion, held in most churches in Goa), through which scenes from the Passion of Jesus were depicted using large statues. These pious tableaux were accompanied by the singing of peculiar Lenten songs, which took on a special form known as the ‘motet’,” musician and choir member Preethi Coutinho said.
Andrade said, “Goan mestres infused the motet with a unique flair: male voices opened with four-part harmony, followed by violin interludes, often joined by clarinet and double bass in many parishes. Before Vatican Council II (1962–65), no instruments were allowed during the Sacred Triduum, yet the Vatican granted special permission for these Goan motets, recognising their singular beauty.”
“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 a fine example of inculturation of Catholic sacred music in Goa. Originally, they were sung by men alone, in a four-voice arrangement,” Coutinho said, adding that till the middle of the 20th century, singing in the Church was the prerogative of men.
From Latin to Konkani
“In Goa today, we have Latin tunes, about three dozen of which have survived, while in Konkani there are slightly more, many of which are direct translations from their Latin versions to cater to local devotees. I put together a collection from my own memory as well as those left behind on notes scribbled by the choir masters who taught music in church-run schools,” Fr Lino de Sa, who authored Nimanni Vatt (Final Journey), a compilation of motets that has been instrumental in preserving this musical tradition, said.
“It is difficult to pinpoint exactly when this form evolved from Latin to Konkani, because the trail is lost,” he added.
Traditionally sung during Santos Passos processions and the Sacred Triduum—Maundy Thursday, Good Friday and Holy Saturday—Goan motets are marked by solemn melodies and meditative repetition. They were typically rendered by male vocal ensembles, often accompanied by violins, and occasionally supported by clarinet and double bass.
“These profound sacred compositions filled the air during the Santos Passos and the solemn Sacred Triduum—Maundy Thursday, Good Friday and Holy Saturday. Their haunting melodies stirred souls, evoking tears even from those who didn’t grasp the Latin lyrics,” Andrade said.
“However, over the years, for the sake of convenience, churches across Goa have begun skipping the singing of the motets during services, aided by the fact that many of the tunes had been forgotten. Without the motets, the services are just not the same,” he added.
But now, a movement to revive the practice is underway.
Revival efforts
As part of the revival, the first All Goa Motet Singing Competition was organised by the Pilar Music Academy in Margao, South Goa, which saw 10 parish choirs—16 singers each—participate.
“Over time, the practice has seen a decline in several parishes due to changing liturgical preferences and practical constraints. The present initiative seeks to address this gap by encouraging renewed participation, particularly among younger choir members,” Father Myron Sequeira, who heads the academy and pioneered the initiative, said.
“We aim to rekindle the spiritual and cultural richness of our Lenten motets. We hope to inspire young choir members, guided by experienced elders, to preserve and cherish this sacred heritage that once resonated deeply in our churches during the Lenten season,” he said, adding that the academy has insisted groups sing in at least four voices—soprano, alto, tenor and bass—and use only instruments such as the violin, cello, clarinet and double bass, or, in the case of keyboards, church organ or pipe organ tones, to keep the original character intact.
At the competition, participating choirs brought back to life tunes that were at risk of being lost to disuse, including Udkacho Hunvar Zala (a flood of water), Khorench Sangtam (truly I tell you), Porje Mhojem (My people), Vell Mhozo Pavlo (My time has come), Kalvarichea Dongrar (On the hill of Calvary), Khandar Khuris (Carrying the Cross), Eh Maie Dukhesti (O sorrowful mother), Nixtur Monzat (Ferra Passima), Konxasondhicho Fator (Cornerstone) and Sam Pedr (St Peter).
Parishes across Goa are now training choir groups to ensure that at least one motet is sung each day during services between Palm Sunday and Easter Sunday.
Father Sequeira said the competition was held as an opportunity to revisit music closely linked with Lenten observances, introduce younger members to a tradition elders had grown up with, and reconnect with Goan Christian musical heritage.
“Hopefully, our present generation helps awaken their parishes to bring talents together and produce edifying and rich music for Lent in their own parishes,” Coutinho said.
