"Hurford comes home with a splendidly spacious and grand account of the Passacaglia and Fugue in C minor, BWV582 -- lucid in shape and noble in conception." (Stanley Webb, Gramophone, February 1979) . . . "[there is a] consistent freshness and vivacity [to] Hurford's approach. His mastery of these complex patterns is demonstrated through his thinking fingers." (Gordon Reynolds, Gramophone, June 1982) . . . "The real magic ingredient is Peter Hurford himself, the logic and wit of whose playing never ceases to astonish me. It is the thrill of a lifetime to listen to any of his versions of the great Bach organ works." (Gordon Reynolds, Gramophone, November 1985). . . "The playing combines freshness and vigour with breadth and a positive sense of the music's overall span; it is, above all, wonderfully spontaneous." (Ivan March, Gramophone, February 1990) . . . Guy Rickards: From the very first note of its stentorian ground bass, this is music that has me in its thrall . . . I can't recall a finer interpretation than Peter Hurford's for Decca . . . Hurford's playing and registrations illuminate Bach's writing -- they are about the music, whereas others are more concerned with texture at the expense of line . . . Hurford's tempi also compel . . . His account moves at quite a lick yet never seems rushed, like some planetary body moving at incredible speed yet seeming only gradual in its pace . . . If ever there was a music of the heavens, this surely is it . . . Caroline Gill: it's impossible not to get caught up in the glorious inevitability of it, and Peter Hurford's version is truly fine.
Record Review /
Guy Rickards, Caroline Gill,
Gramophone (London) / 01. March 2014