Trained in both music and law, Peter Hurford built a formidable reputation through his performances at the organ and his contributions to musical scholarship. Those scholarly efforts yielded fresh perspectives on how early music should be interpreted and on how the instruments used for it should be designed. His many recordings issued by the Decca label, known earlier in the United States as London Records, attained legendary status, while his concert appearances drew favorable notices and sparked wide-ranging conversations about performance practice and organ construction.
Hurford began his training with Harold Darke, the esteemed English organist and composer, before pursuing degrees in music and law at Jesus College, Cambridge University. Further work in Paris under the blind French organist André Marchal deepened his engagement with Baroque repertoire, especially the works of J.S. Bach and the French masters, and sharpened his own gifts as an improviser. During that period his distinctive approach to historically informed performance crystallized; once appointed music master at St. Albans Abbey in 1958, he put those ideas into practice by rebuilding the abbey organ and drawing the interest of fellow English organists who found the prevailing weighty Baroque manner unsatisfying. His growing stature helped launch the International Organ Festival at St. Albans in 1963, an event that quickly became a gathering point for performers and scholars to compare interpretations, explore questions of registration and repertory, and consider ways to enlarge audiences. Prize winners at the festival have included Gillian Weir and Thomas Trotter, and participants often treasured the signed copies of Hurford’s Bach recordings they received.
After many years at St. Albans, Hurford stepped down to meet the growing demand for solo recitals. By then his recordings had already made his name recognizable even to listeners who had never attended a live concert. In addition to performing, he taught regularly and served as a visiting scholar at institutions in England and the United States. Eventually he gathered decades of reflection into the 1988 volume Making Music on the Organ, whose straightforward title belies the depth of practical insight it contains. He also gained recognition as a composer of organ and choral music, most of it written during his St. Albans tenure; some pieces unfold in lyrical lines, others in buoyant rhythms, yet all reveal the improvisatory instincts that shaped his playing.
His most ambitious recording undertaking was the complete organ works of Bach, begun in the 1970s and completed in the early 1980s. A double-disc collection of Couperin’s organ masses likewise proved influential. Both projects illustrated the impact of Hurford’s characteristically brisk tempi and imaginative registrations on modern organ performance. Diagnosed with Alzheimer’s disease, he withdrew from the concert stage in 2009 and died in early March 2019. At the time of his death the remastered Bach recordings remained available, together with a two-disc anthology of highlights.
