For the first time in years, Symphony Hall heard a great Bach choral work yesterday afternoon, presented both with inspiration and a proper number of performers. Gone were the monster choruses and bloated orchestras, which have often distorted the music. The Harvard-Radcliffe Chorus used about a hundred singers, and Mr. Munch cut the orchestra down to seventy, as musicologists recommend.

The "Passion According to St. Matthew" sets the Gospel to music with soloists and chorus taking different parts. This required skillful dramatic characterization, which the Chorus captured--whether it was the tenderness of compassion or the savagery of the angry mob. But in spite of the size of the chorus, inner voice parts were not sufficiently clear and contrapuntal until the second part.

In a crop of good solo voices, Marko Rothmuller, as Jesus, sang with a dignity and dramatic awareness occasionally spoiled by a bovine tone. David Lloyd's tenor was magnificent in the part of the Evangelist, and Adele Addison's soprano had an exquisitely pure tone.

The real glory, however, belongs to Mr. Munch--first, for his decision to perform the piece; and secondly, because he approached this complex work with an acute sense of its drama. That, in fact, is the keystone of all Passion music. Bach composed the music to follow the sense of the words closely, and has subtle devices for accomplishing this make a fascinating study, one which Mr. Munch evidently had made.

It was sad that time forced Mr. Munch to cut some superb music, particularly since the arise and choruses left out make up much of the character of the "Matthew Passion." But he was quite right to keep the recitative intact, for the composer himself, when obliged to cut, did the same thing.

When Bach performed the "Passion," he had the congregation join in the chorales heartily. The accompaniment was full orchestra, fortissimo, and this is the way it should always be, even today. The way Mr. Munch did it, a cappells, pianissimo, was very effective but not historically accurate. Some modern audiences have shown willingness to join in the chorales, but perhaps the Friday afternoon patrons would not.

The many who walked out during the last half hour displayed a great discourtesy to the audience, the performers, and to Bach. Those who showed good manners by staying heard the completion of an exceptional concert.