Morimur

1	Cantata No. 136, "Erforsc
2	Christ lag in Todes Bande
3	Partita for solo violin N
4	Christ lag in Todes Bande
5	Partita for solo violin N
6	Christ lag in Todes Bande
7	Partita for solo violin N
8	Cantata No. 188, "Ich hab
9	Partita for solo violin N
10	Aus meines Herzens Grunde
11	Partita for solo violin N
12	Christ lag in Todes Bande
13	St. John Passion (Johanne
14	Befiehl du deine Wege (I)
15	Jesu, meine Freude, chora
16	Cantata No. 188, "Ich hab
17	Cantata No. 5 "Wo soll ic
18	St. John Passion (Johanne
19	Nun lob, mein Seel, den H
20	Partita for Violin solo n
21	Partita for solo violin N
22	Partita for Violin solo n
Morimur
1.	Cantata No. 136, "Erforsche mich, Gott, und erfahre mein Herz," BWV 136 (BC A111): Chorale for 4 voices "Auf meinen lieben Gott" 2:04
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble and Christoph Poppen
2.	Christ lag in Todes Banden (II), chorale setting for 4 voices, BWV 278 (BC F26.2): Den Tod..., single voice excerpt 0:26
	Composed by Johann Sebastian Bach
	Performed by David James
3.	Partita for solo violin No. 2 in D minor, BWV 1004: Allemanda 4:11
	Composed by Johann Sebastian Bach
	Performed by Christoph Poppen
4.	Christ lag in Todes Banden (I), chorale setting for 4 voices, BWV 277 (BC F26.1) 1:29
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
5.	Partita for solo violin No. 2 in D minor, BWV 1004: Corrente 2:48
	Composed by Johann Sebastian Bach
	Performed by Christoph Poppen
6.	Christ lag in Todes Banden (II), chorale setting for 4 voices, BWV 278 (BC F26.2) 1:31
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
7.	Partita for solo violin No. 2 in D minor, BWV 1004: Sarabanda 4:00
	Composed by Johann Sebastian Bach
	Performed by Christoph Poppen
8.	Cantata No. 188, "Ich habe meine Zuversicht," BWV 188 (BC A154): Chorale for 4 voices Text: "Wo soll ich fliehen hi 0:51
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
9.	Partita for solo violin No. 2 in D minor, BWV 1004: Giga 4:19
	Composed by Johann Sebastian Bach
	Performed by Christoph Poppen
10.	Christ lag in Todes Banden (II), chorale setting for 4 voices, BWV 278 (BC F26.2): Den Tod..., single voice excerpt 0:29
	Composed by Johann Sebastian Bach
	Performed by David James
11.	Partita for solo violin No. 2 in D minor, BWV 1004: Ciaccona 14:22
	Composed by Johann Sebastian Bach
12.	Christ lag in Todes Banden (I), chorale setting for 4 voices, BWV 277 (BC F26.1) 2:17
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
13.	St. John Passion (Johannespassion), BWV 245 (BC D2): Chorale for 4 voices "Dein Will gescheh'" 0:54
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
14.	Befiehl du deine Wege (I), chorale setting for 4 voices, BWV 270 (BC 92.1) 1:24
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
15.	Jesu, meine Freude, chorale setting for 4 voices, BWV 358 (BC F116) 1:06
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
16.	Cantata No. 188, "Ich habe meine Zuversicht," BWV 188 (BC A154): Chorale for 4 voices "Auf meinen lieben Gott" 0:48
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
17.	Cantata No. 5 "Wo soll ich fliehen hin," BWV 5 (BC A145): Chorale for 4 voices "Jesu Deine Passion" 1:08
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
18.	St. John Passion (Johannespassion), BWV 245 (BC D2): Chorale for 4 voices "In meines Herzens Grunde" 0:52
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
19.	Nun lob, mein Seel, den Herren (I), chorale setting for 4 voices, BWV 389 (BC F153.1) 1:39
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble
20.	Christ lag in Todes Banden (II), chorale setting for 4 voices, BWV 278 (BC F26.2): Den Tod..., single voice excerpt 0:26
	Composed by Johann Sebastian Bach
	Performed by David James
21.	Partita for solo violin No. 2 in D minor, BWV 1004: Ciaccona, accompanied by chorale fragments 13:59
	Composed by Johann Sebastian Bach
	Performed by The Hilliard Ensemble and Christoph Poppen
	Additional Notes: arranged by Thoene, Helga~arranged for violin & voices
22.	Christ lag in Todes Banden (II), chorale setting for 4 voices, BWV 278 (BC F26.2): Den Tod..., single voice excerpt 0:30
	Composed by Johann Sebastian Bach
	Performed by David James

Barnes & Noble

Is there more to J. S. Bach's music than meets the ear? German scholar Helga Thoene thinks so. She has analyzed the epic Chaconne from the D Minor Partita for solo violin -- incontestably one of Bach's great works -- and uncovered a series of hidden references to Lutheran chorale tunes. These veiled secrets, along with other covert messages, transform the work, she claims, into a memorial for Bach's first wife, Maria Barbara, who died unexpectedly in 1720. But Morimur (from the Latin verb "to die") is no dry academic exercise. It may take Thoene's work out of the ivory tower and make it palpable, but it does so with highly expressive, top-notch performances. Baroque violinist Christoph Poppen teams up with the Hilliard Ensemble for the intriguing program, which alternates the five movements of the Partita, played with verve and nerve by Poppen, with Hilliard's exquisite readings of the four-part chorales. The disc culminates with a repeat performance of the Chaconne, but this time Hilliard joins in, making the hidden music audible. This is slippery scholarly ground, and a little skepticism is called for. But musical mysteries aside, the high quality of these performances (captured in the wonderfully spacious acoustics of an Austrian monastery) warrants picking up this disc. At any rate, you can be sure you haven't heard Bach like this before. EJ Johnson

All Music Guide

It was quite popular, in the Baroque era, to use numbers and equations for riddles and the hiding of messages; and the study of J.S. Bach's work has revealed that he used numbers symbolic of notes in the major and minor scales formulated into equations and then composed his works around these equations. It was with one such series of equations that researchers found that inside of J.S. Bach's music there was a large number of other compositions almost fractally entwined. Of particular interest was J.S. Bach's " Six Sonatas and Partitas for Solo Violin" which had been designed with a sort-of numeric equation that turned out to actually have the music fractally built around a very small part. Intrigued by researcher's findings Christoph Poppen discussed with ECM Records head and producer Manfred Eicher the possibility of a recording that would make the "hidden chorales" as the smaller, fractal pieces were later termed, more audible. A collaboration with the excellently gifted interpreters of early music, the Hilliard Ensemble was proposed and with Christoph Poppen directing they set about liberating the numeric/ melodic equations from the fabric of J.S. Bach's " Partita No. 2." With Morimur for the first time we hear the music the way that J.S. Bach might have heard it when he was composing his "Partita No. 2" as they are linked with various chorales that also used the numeric equation that is found in "Partita No. 2." Beyond the fascinating story behind Morimur it's an excellently well crafted, and well-produced recording that truly brings the piece to life. If you're a fan of J.S. Bach it is recommended that you give this recording a listen as it is fantastic and excellently read with the Hilliard Ensemble in top form. A must have for your collection! Matt Borghi

New York Times

...some of Bach's most profound and uplifting music. These pieces transcend the gloom from the moment they are heard. The performances are everywhere engaging and at times truly sublime. James R. Oestreich

Gramophone

Christoph Poppen plays with secure agility and a vibrant tone, bringing drama to the Sarabande and vigour to the Gigue, and shaping a satisfying range of moods in the Chaconne... The Hilliard Ensemble sing with appropriately funereal dignity... This is above all one of those increasingly rare things -- a moving and intelligently programmed disc that is effective from beginning to end. Lindsay Kemp