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John MacMurray — "Moose" to those who knew him — was a latecomer to the trumpet. He considered himself a musician first and a trumpeter second, and this is reflected in the fact that he began instrumental studies at the comparatively late age of fifteen, by which time most would have completed their Grade VIII exams.
Starting not as a child, but as a young adult, he progressed quickly through his native Canadian and American universities with the renowned teachers William Vacchiano and Armando Ghitalla. His rapid development brought him to London in 1981 at the age of twenty-two to study at Goldsmiths College. By now he had acquired so much maturity and style that his musical personality shone out, just like his trumpet sound itself. And it was that sound — with the full resonance but not the hard edge of many American-trained players — that made him unique.
Although his first concert as Principal Trumpet with the Hallé Orchestra was 2 November 1986 at the age of twenty-seven, he had already been Co-principal for almost three years with John Dickinson, impressing everyone when stepping up to play first. Despite the early end to his career, only two people have held the principal position longer, going back before Harry Mortimer to Alex Harris in 1919.
Bringing extensive experience to trumpet-playing from his travels, from his role models and teachers who instilled in him an appreciation for music as a whole, but also from his own unique strength of character, he was able to succeed where others might flounder. His attitude to preparation, attention to detail, awareness in rehearsals, differentiation between musical styles, and overall professionalism in the most unrewarding or trying of circumstances, were all typical of his character. He took inspiration from a wider artistic standpoint and his personal contribution in sound and phrasing were a particular highlight, expressing a depth of feeling beyond the written notes.
In his teaching too, his maturity and example of integrity to the music as well as to oneself, the challenge to focus in a personal way, to look behind the notes on the page, made him a formative influence, not just a trumpet player. As well as holding teaching posts at such institutions as Chetham's School of Music and the Royal Northern College of Music, he also taught select students privately, including famed French footballer Eric Cantona for a short while. Students and colleagues alike noted his wonderful sense of humour, and his great intuition and wisdom outside of music, showing genuine concern and encouragement in difficult times.
He experienced two periods of cancer, but overcame both the physical and emotional hurdles to re-emerge in his characteristic style, first with a performance of Mahler's Symphony No. 5 and then with Shostakovich's Concerto for Piano, Trumpet and Strings, broadcast live on BBC radio in February 2006 after seven months absence. This was testament to his immense professionalism and strength of character.
In July 2006 the cancer with which he had struggled for several years returned for a third time. Word quickly spread of the seriousness of its third assault and colleagues, friends and many of his devoted former students were able to contact him for the very last time.
He died on Sunday 20 August and his funeral took place on 29 August near his home in Macclesfield. There hundreds of friends, family, colleagues, former colleagues and students spilled out of the cemetery building — proof of just how loved and respected he was. As well as tributes, recordings of some of his favourite music were heard, including Bach's Prelude and Fugue No. 1 in C, Itzhak Perlman’s Cinema Paradiso, Eva Cassidy’s Way Beyond the Blue, and also a recording of his own performance of Mahler’s Blumine from February of that year.
On Thursday 20 September 2006, the Hallé dedicated its evening concert at the Bridgewater Hall to his memory with a performance of Bach's Brandenburg Concerto No.5 and an electrifying performance of Mahler's Symphony No.5. Conductor, Mark Elder, spoke glowingly of his former colleague to a full house, and an obituary was provided in the programme notes by fellow trumpeter and personal friend, Ken Brown, who noted how profoundly he would be missed not only by colleagues at the Hallé but also by the discerning and committed Hallé audiences who over the years had grown so accustomed to the presence of this exceptional musician.