Discography of motets by Johann Sebastian Bach

Choirs with one voice per part (OVPP) are used in some historically informed performances of Bach. However, OVPP recordings of the motets are in the minority. Exceptions include the Hilliard Ensemble's second set,[5] and Konrad Junghänel with the group Cantus Cölln.[6] Philippe Herreweghe's two sets use OVPP for some motets, for example Jesus meine Freude, and not others.[7] [8]

At least some of the motets would have been first performed by singers from Leipzig's Thomanerchor, which comprises boys and young men. This choir has recorded the motets (initially under Günther Ramin in the 1950s),[9] as have other choirs with boys' voices such as the Choir of New College, Oxford.[10][11]

Music directors need to make choices about the instrumental accompaniment, if any, to be used. There are three possible approaches:

• a cappella, that is, without an accompaniment
• instruments doubling the vocal lines, something which is described as playing colla parte
• Basso continuo, or just an organ accompaniment, to provide some instrumental support for the singers

Surviving sources do not make it clear what Bach's approach was to the accompaniment of most of these pieces. In the case of Der Geist hilft unser Schwachheit auf, BWV 226 orchestral parts are extant, indicating that choir I was doubled by strings and choir II by reeds (two oboes, taille and bassoon). There is also a basso continuo provided (separate violone and organ parts) which underlies both choirs.[12] An accompaniment is also specified for Lobet den Herrn.[13]

La Petite Bande and Bach Collegium Japan, for example, use the orchestration of Der Geist hilft unser Schwachheit auf for the other pieces for double choir. However, a capella performance is long-established tradition,[14] which is also reflected in recordings. The Hilliard Ensemble's OVPP version is mainly a capella. They omit the instrumental parts of Der Geist hilft unser Schwachheit auf, but sing Lobet den Herrn to organ accompaniment.[5]

The recordings with continuo accompaniment include The Sixteen's version (the instruments are cello, violone, theorbo, organ) and the second recording by the Monteverdi Choir (cello, double bass, bassoon and organ).[15]

The first of the motets to be recorded was Jesu meine Freude in 1927. This version was sung in English.[16]

In 2010, Suzuki and his ensemble were given a French award (Diapason d’Or de l’Année) and a German award (Preis der deutschen Schallplattenkritik) for their recording of Bach motets on BIS.

John Eliot Gardiner, who has won more Gramophone Awards than any other living artist, received one for his second recording of the motets with the Monteverdi Choir on SDG. It was one of the 2013 awards, the category being "Baroque Vocal".

Grete Pedersen with the Norwegian choir Det Norske Solistkor won a Diapason d'Or in 2018 for their recording of the motets on BIS.

Raphaël Pichon with Pygmalion won an Opus Klassik award in 2021 for their recording of the motets on Harmonia Mundi.

Recorded sets of Bach's motets usually include at least the motets BWV 225-229. For sets of six, either BWV 230 or BWV Anh. 159 is added. Motets have also been recorded individually, for instance Charles Kennedy Scott and the Bach Cantata Club recorded BWV 227, sung in English, in 1927, which was the first recording of any motet by Bach.[17]

• Elste, Martin (2000). "Die Motetten BWV 225–230 und 118." [The motets BWV 225–230 and 118]. Meilensteine der Bach-Interpretation 1750–2000 (in German). J. B. Metzler. pp. 176–179. doi:10.1007/978-3-476-03792-3_16. ISBN 978-3-476-01714-7.