Robert Saxton: Piano Music

In its bell-like sonorities, clear textures and ritual manner, the piano music of Robert Saxton (born in London in 1953) suggests an almost oriental fascination with light and the way light refracts and diffracts – and yet it is audibly music written by an Englishman. In the two Books of Saxton’s Hortus Musicae in particular, this fascinating confluence generates a soundworld somewhere downstream from Takemitsu and Tippett, giving these gardens of music both a ceremonial dignity and sense of spring growth.

Clare Hammond, piano


Catalogue No: TOCC0458
EAN/UPC: 5060113444585
Release Date: 01.03.2018
Composer: Robert Saxton
Artists: Clare Hammond

Listen To This Recording:

  1. Chacony for Piano Left Hand (1988)
  2. Sonata for Piano (1981)
  3. Hortus Musicae, Book 1 (2013)*

  4. Hortus Musicae Book 1: I Hortus Somniorum
  5. Hortus Musicae Book 1: II Hortus Temporis
  6. Hortus Musicae Book 1: III Hortus Cantus
  7. Hortus Musicae: Book 1 IV Hortus Infinitatis
  8. Hortus Musicae Book 1: V Saltatio Hortensis
  9. Hortus Musicae Book 2: I The flowers appear on the earth
  10. Hortus Musicae, Book 2 (2015)*

  11. Hortus Musicae Book 2: II Light on the Water Garden
  12. Hortus Musicae Book 2: III The Garden of Changing Perspective
  13. Hortus Musicae Book 2: IV Beech Bank
  14. Hortus Musicae Book 2: V Light on the Hedgerows
  15. Hortus Musicae Book 2: VI The Garden at Dusk
  16. Hortus Musicae Book 2: VII Hortus Animae Alis Fugacis
  17. Lullaby for Rosa (2016)*


1 review for Robert Saxton: Piano Music

  1. :

    “Central to the music’s efficaciousness is Hammond herself, of course. Book 1 arguably foregrounds the surface qualities of her playing, such as purity of line and shape, but Book 2 delves deeper, challenging the pianist to maintain clarity and transparency in often more complex and multilayered settings.

    Hammond also gives an excellent account of the much earlier Piano Sonata. Written in memory of Béla Bartók, it starts with a mercurial main theme which darts around animatedly, pausing for short gasps of breath before surging forwards. The sonata ends with stasis and movement collapsing into one another in a frantic flourish of rising scales and dense chords. That Hammond succeeds on both counts is testimony to her musicianship but also to Saxton’s ability to write effectively with performer and instrument in mind.” —Pwyll ap Siôn, Gramophone Magazine

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