The debate surrounding Bach's vocal scoring has mostly focused on the cantatas and Passions. The evidence for Joshua Rifkin's hypothesis of single voices is found among the sources of these works. Bach's motets have featured rather less in the debate. For those wanting a general “choral” approach, La Petite Bande and Sigiswald Kuijken present on their recording from the early 1990s an alternative to the authentic early performance style.
Bach, Johann Sebastian: The Motets BWV 225-230:
Komm, Jesu, komm BWV229;
Fürchte dich nicht, ich bin bei dir BWV228;
Lobet den Herrn, alle Heiden BWV230;
Der Geist hilft unsrer Schwachheit auf BWV226;
Jesu, meine Freude BWV227;
Singet dem Herrn ein neues Lied BWV225;