“Resembling Franz Liszt from the stage…he distinguished himself from his many brilliant peers by projecting a composer’s command of his repertoire”
– Rorianne Schrade, New York Concert Review (Winter, 2008)
“In bravura passages, Cameron equals anyone who champions Liszt”
– Audiophile Audition (Oct, 2010)
“Matthew Cameron’s Chopin playing is of the highest order and well worth hearing, always poetic and expressive as well as virtuosic. He puts his own stamp on his performances, and this recording (Chopin, 24 Etudes) is up there with the very best available.”
– MusicWeb International (June, 2015)
“Highly animated playing…The Don Juan Fantasy exhibits some almost impossibly large arrivals…Clean and impressively fast”
– American Record Guide (March, 2011)
“The great virtuoso”
– Teatro del Sale, Italy (2010)
“…a boldly romantic pianist with a strong technique and a personality attuned to both the swashbuckling and the sentiment that this repertoire requires . . . the dexterity of his touch . . . the seduction of his rhythmic teasing . . .”
– Fanfare Magazine (2011)
“The music of Liszt seems to be Matthew Cameron’s great strength…The technical demands of Liszt seem to hold no problems for Matthew Cameron and the performances are always insightful and musical…Feux Follets is delivered with real sparkle and utmost clarity of articulation. Very fine and virtuosic playing here full of musical insights, and Gnomenreigen is brilliantly played too, a performance that could not be bettered.”
-Geoffrey Molyneux, MusicWeb-International.com (Oct. 2013)
“Multiplying and squaring difficulties with Pythagorean zeal…aristocratic in inspiration”
– Music and Vision Daily (Jan. 2011)
“Matthew Cameron’s remarkable, luxurious, and ever-so-pianistic transcription of Khachaturian’s ballet music from Spartacus celebrates the original’s affecting melodic content most persuasively, and with considerable imagination and abandon, too…Cameron, a gifted pianist and composer in his own right, has created an opulent and sympathetic paraphrase that deserves a permanent place in the piano repertoire. Indeed, it would flatter any expert pianist bold enough to perform it.”
– Fanfare (2015)
“Cameron demonstrates his virtuosity in brilliant decorative flourishes with crystal clear demisemiquavers, and these fiendishly difficult passages seem to hold no fear for him. In the end, they are only decorations of the melody….He phrases beautifully and the sound is well-balanced….Hunnenschlacht, or the Battle of the Huns, is brilliantly transcribed here for piano solo by Matthew Cameron. In the fearsome opening section, Cameron displays his phenomenal virtuosity to great effect with dark and deep sounds to terrify us all…Liszt himself made a transcription of this work (Les Preludes) for two pianos but Matthew Cameron’s version is equally successful, very virtuosic and exciting. Cameron’s transcription is sensitively realised and he successfully conveys the drama and intensity of the work.This collection is very varied and exciting and although there are already many fine recordings of some of the pieces presented here, Matthew Cameron puts his own distinguished stamp on the proceedings. He demonstrates such fine musicianship and virtuosity, and this excellent project is really well worth hearing.”
-Geoffrey Molyneux, MusicWeb-International.com (Feb. 2014)
“Mr. Cameron’s transcription of Les Preludes (Liszt) is a masterful one. It’s brilliantly effective”
– Timothy Gilligan, New York Concert Review (Winter, 2006)
“There’s bravura aplenty here, but with delicacy where it’s required. There’s plenty of dexterity, too, as on the previous album so, unless you restrict yourself to listening to Liszt from one of the big names of the past, this album is well worth having.”
– Brian Wilson, MusicWeb-International.com (Dec. 2013)
“Matthew Cameron plays a selection of piano works (Cala CACD 88045)…the playing of seven works by Liszt is impressive including as it does two of his symphonic poems written for orchestra and transcribed by Cameron.”
– Opusklassiek (Oct. 2011)
“Transcription fanciers will discover that much of the swooning emotion of the famous Spartacus Adagio comes through in Cameron’s recent arrangement.”
– Records International
“Spartacus, in a new arrangement by Matthew Cameron…is impressive for the way it presents the ballet’s well-known main theme, particularly in its wide, sweeping orchestral gestures”
-TheWholeNote.com
“Matthew Cameron’s music is immensely attractive and engaging. Because he uses musical archetypes from the past, combining them with 20th century devices from our time, his music soars over the unattractiveness of much modernism and communicates to the genuine music lover.”
– Anthony Newman
“A genius”
– Cyprien Katsaris
“I consider him to be one of the most talented pianists of his generation, and one of the three most talented pianists I have personally ever known”
– Joseph Patrych, classical music director WFUV radio 1980-1993, grammy nominated engineer
“It was a real pleasure for me to be introduced to the original music of Matthew Cameron. An inspired and gifted composer who speaks to the heart, his works deserve to be heard and performed widely. I shall follow his creative endeavors with keen interest.”
– Dimitris Sgouros
“He has succeeded in bringing many of the 19th century’s Lisztian keyboard textures into the twenty-first century, and has placed them in the service of his own creative gifts. The result is most impressive.”
– Alan Walker
“He is an artist – with all the seriousness and integrity that that implies.”
– David Dubal, author and host of WQXR’s “Reflections from the Keyboard”
“Matthew Cameron…makes great transcriptions.”
– Cyprien Katsaris (from an interview with the San Fransisco Examiner)
“Profound musical consciousness”
– Michel Lenaour, French music writer
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