"Seconda Pratica" means the "Second Practice" and says the "subsequent" writing. This musicological technical term that refers to basso continuo centred music, is known to distinguish itself in 1600 in Italy. The best known examples of this "modern form" are the recitative parts of Monteverdi's operas. This is referred to in the Baroque era, from the basso continuo.
In contrast, the "Prima Pratica" focused on the long-established style. This "First Practice" means the vocal polyphony of the various Dutch schools from Guillaume Dufay to Orlando di Lasso. It is music whose voices have equal weight. Although the J.S. Bach's oeuvre, the result of his great musical curiosity for old and new styles - it is known that J.S. Bach was engaged throughout his life with contemporary trends as well as historical styles - the J.S. Bach-Stiftung believes that to understand his cantatas, they should be mostly performed from the core of the figured bass. Therefore, the ensemble for the J.S. Bach-Stiftung in concerts adopted the name "Schola Seconda Pratica".
The occupations of the various cantatas are variable. Thus, the upper string parts can be performed solo or in the size of 3 first and 3 second violins and 2 violas. J.S. Bach used in his performances both options. The basso continuo group with a cello, double bass, harpsichord and / or organ, is the core of the music. The wind instruments arise from the requirements of the individual cantatas. For the chorus, the ensemble uses a slim version with three to four singers per part or one singer per part (OVPP). For each performance the ensemble consists of an equal weight between vocal and instrumental voices. The modular personnel concept, however, allows the ensemble to expand the choir greatly, if necessary. The term "Schola" points out that in view of the long duration of the project training in historically oriented performance is provided.