ALBUMS
J S Bach - Life & Love (2026)
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Arioso (from Capriccio) – J.S.Bach
Toccata & Fugue in D minor – J.S.Bach/Roberts Schafe können sicher weiden – J.S.Bach/Lipatti Ich ruf zu dir, Herr Jesu Christ – J.S.Bach/Busoni 4 Preludes in C (BWV 924a, 924, 846a, 846) – J.S.Bach Prelude & Fugue in G (from WTC I) – J.S.Bach Ciaccona (from Violin Partita No.2) – J.S.Bach/Roberts 3 Chorales (from St Matthew Passion) – J.S.Bach/Roberts Sarabande (from Partita No.6) – J.S.Bach Contrapunctus XIV (from The Art of Fugue) – J.S.Bach Sarabande (from Cello Suite No.6) – J.S.Bach/Roberts Recorded: Move Records, 2026 |
Flute Perspectives 2 (2020)
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Greenbaum – Sonata (2015)
Anne Boyd – Cloudy Mountain (1981) Richard Meale – Sonata (1960) Also, works by Celan, Pollard. Derek Jones (flute) & Cameron Roberts (piano) Recorded: Move Records, released 2020 Greenbaum – Sonata (2015)
Anne Boyd – Cloudy Mountain (1981) Richard Meale – Sonata (1960) Also, works by Celan, Pollard. Derek Jones (flute) & Cameron Roberts (piano) Recorded: Move Records, released 2020 |
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REVIEWS:
“Together Jones and Roberts navigate even the most challenging musical terrain with dextrous articulation, magnificent sensitivity and an ensemble that is razor-sharp. The achingly gorgeous tonal quality in Jones's rendering of Mark Pollard's The Amber Room is a standout of the album, as is Roberts' sparkling accompaniment in Anne Boyd's Cloudy Mountain. By turns virtuosic, contemplative and haunting, this stunning collection leaves no stone unturned in its exploration of one of the world's oldest instruments.” ★★★★★ (Jessie Cunniffe, Brisbane Times / Sydney Morning Herald) |
BRAHMS - 3 Violin Sonatas arranged for Flute and Piano (2016)
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The 3 Brahms Violin Sonatas
for Flute & Piano, arranged and performed by Jacques Zoon (flute) & Cameron Roberts (piano) Recorded: Vox Animae, Geneva 2012-2016
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The 3 Brahms Violin Sonatas, arranged for Flute & Piano |
Spanish Fire – Danzas Españolas (2011)
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Spanish Fire - Danzas Españolas |
Cameron Roberts - Original Piano Transcriptions (2009)
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• Vivaldi/Roberts: Summer (from The Four Seasons)
• Rachmaninoff/Roberts: How beautiful it is here, The Morn of Life, Sleep • Gershwin/Roberts: Rhapsody in Blue • Bach/Roberts: Largo (from Concerto for Two Violins) • Tchaikovsky/Roberts: 1812 Overture • Faure/Roberts: In Paradisum Recorded in MOVE Records studios, 2009 |
Original Piano Transcriptions |
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REVIEWS: "This is one of the most satisfying recordings i've heard in a long time. He shapes to the demands of whatever he plays like fine wine to a goblet. His taste is impeccable, his physical command of the piano is remarkable. Refinement of style informs every moment of this recording. Magically silvery tone in the high treble informs the second movement which is transcribed and played with such artistry as to assume an identity that is quite unique and able to stand proudly in its own right. How Beautiful it is Here! is given marvellously lyrical treatment, each note clothed in gorgeous cantabile tone. The Largo ma non tanto from Bach’s Concerto for two violins is another gem which leaves little doubt that Roberts is a born Bach interpreter; this offering cannot be faulted." (Neville Cohn, Ozartsreview, June 2010) |
Bach Goldberg Variations and Original Transcriptions (2006)
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Bach: Goldberg Variations
Bach arr. Roberts: Es ist Vollbracht Bach arr. Roberts: Aus Liebe will mein Heiland Sterben Bach arr. Roberts: Brandenburg Concerto No.3 Recorded in MOVE Records studios, 2006 |
Bach Goldberg Variations & Original Transcriptions |
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REVIEWS:
"ROBERTS is in Olympian form in Bach’s Goldberg Variations which comes across as a chaplet of near-faultlessly fashioned pianistic gems. The bold, abruptly peremptory quality of Variation 16 could hardly have been bettered. A dainty, graceful account of Variation 17 makes for sheerly beautiful listening – and the intricate delicacy of Roberts playing in the 20th variation calls finest Brussels lace to mind. Es ist Vollbracht from the St John Passion is as much an instance of the transcribers art at its highest as it is a profoundly probing interpretation." (Neville Cohn, Ozartsreview, June 2010) "Roberts' thought-provoking Goldbergs...with the pivotal 25th variation sensitively given." (Limelight Magazine, Australia, May 2006) "An intimate recording... the rattling good fun Brandenburg Concerto has most successfully made the transition to its new form..." (4MBS Program Guide, 2006) |
Live in Recital (2000)
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Works by Bach, Scriabin, Rachmaninoff, Grainger & Gershwin
Live recording from St.John’s, Southgate, Melbourne.
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Private sale only.
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REVIEWS:
“One of the National Academy’s brighter sparks, pianist Cameron Roberts, gave a splendid hour’s worth of varied repertoire on Saturday night. He opened with an exemplary Bach Partita No. 1, a lucid appreciation of the work’s benign busy-ness coming over. This was followed by Scriabin’s Sonata No. 5, treated with a compelling breadth of expression and subtlety that mitigated the work’s neurasthenic language. Two deftly contrasting Grainger pieces preceded four Rachmaninov preludes of high-calibre playing. Along with the essential technical facility, Roberts invested these with a controlled vehemence that you might have encountered in a musician twice his age. He is no slouch at bravura, either, as shown by his glittering, slick reading of Gershwin’s 'I got rhythm' in a Earl Wild transcription, with his own touches added for good measure.” (Clive O’Connell, THE AGE, Melbourne, Australia, 2000) |
CONCERT REVIEWS:
"Maestro Roberts kept a tight rein on these three contrasting pieces [Schubert 3 Klavierstücke D.946] which often side-step into alternate melodies, something characteristic with Schubert which always makes me smile. The song-like melody of the second piece and the passion in the third, with its huge climax, were modelled beautifully, which the audience really appreciated and showed, with their applause." David Hood, ClassicON, May 30, 2026
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"5-star review – Together Jones and Roberts navigate even the most challenging musical terrain with dextrous articulation, magnificent sensitivity and an ensemble that is razor-sharp... By turns virtuosic, contemplative and haunting, this stunning collection leaves no stone unturned" – The Sydney Morning Herald, Aug 28, 2020
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".The novelty value of this crystal clear recording can hardly be denied" – Howard Smith, Music & Vision, 2016
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"Imagine a funereal, tolling treble bell, diamond-bright note clusters, rapid arabesques as delicate as Brussels lace and tsunami-like climaxes. Add to this birdcalls in turn melancholy and ecstatic and you have Sad Bird Blues, composed and performed by Cameron Roberts at the first of UWA’s Keyed-Up piano recitals for 2012. This fascinating offering was a high point of the evening. Earlier, we listened to Roberts playing Ravel’s Oiseaux Tristes, yet another evocation of bird calls. It made for engrossing listening, its gentle, introverted essence captured like a sparrow in the gentlest of hands. There is nothing in the least routine or humdrum about Roberts’ presentations of standard repertoire to which he invariably brings originality of perspective and more than a little interpretative daring. Liszt’s Mephisto Waltz No. 1, for instance, was a journey of rediscovery as Roberts brought clarity to a host of fascinating details that more usually disappear into a welter of blurred sound. It was a revelation.
So, too, were most of the preludes that constitute Chopin’s Opus 28, that collection of 24 miniatures that calls for the highest musicianship and fingers that are fearless. On both counts, Roberts scored impressively. In his hands, fascinating freshness was brought to familiar notes. Frequently, for instance, lyricism was offered in episodes where virtuosic power was anticipated – and vice versa. This often novel, even daring, approach, in lesser hands, could well court musical disaster. Here, it was a triumph of musical imagination and invariably within the parameters of impeccable taste.
Had Roberts opted to give the set of 24 pieces again as an encore, I’d gladly have stayed to listen. Instead, we heard a hauntingly beautiful Prelude by Rachmaninov. I saw only a few young music students at this recital. What a shame. How much they would have gained from listening to this splendid offering." – Neville Cohn, The West Australian, April 16, 2012
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"...his opening solo, Granados' Allegro de concierto, which was simply electrifying and an ideal attention-grabber ahead of the main part of the program." – The West Australian, August 15, 2011
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"from the opening piano solo in which Cameron Roberts established his command of the instrument and gained instant rapport with the audience, to the stunning finale of the 12 Danzas Espanolas by Granados, arranged for castanets and piano by Deanna Blacher and Cameron Roberts, the electric atmosphere developed immediately and became an explosion of emotive sound and movement in a stunning partnership which performed as a single entity ensuring that not only was there a wonderfully technically brilliant encore, but three standing ovations when the normally reserved Perth audience gave full vent to their excitement and passion for this landmark performance ... in the second half surpassed my wildest expectations. A simple and elegant setting occupied by two artists of supreme talent left and indelible mark and set a new standard in this medium. Patrons of Spanish Dance who failed to attend this performance missed a once in a lifetime opportunity. The CD’s available in the foyer were being snapped up at a brisk rate, and deservedy so." - John Christmas, OZArts Review, August, 2011
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"This was a recital to grip the attention of the most jaded listeners: a compilation of works all being given their first airings in Perth. This is not to suggest that the audience would have been unfamiliar with the works on offer. On the contrary, these were some of the most frequently encountered pieces in the classical repertoire but here heard, for the first time in Perth, in the form of piano transcriptions by the soloist Cameron Roberts.But these accounts of standard repertoire – Tchaikowsky’s 1812 Overture, say, or Summer from Vivaldi’s Four Seasons and songs of Rachmaninov – were offered, not as hack reductions of well known staples but extraordinarily apposite keyboard versions that came across like a compendium of musical marvels.
One of the most abiding recollections of this recital was the quite astonishing wealth of detail that reached the ear, subtleties which in the original, say, at climactic high points in the 1812 Overture or Gershwin’s Rhapsody in Blue, would not necessarily have impinged on the consciousness. Here, though, we were able to detect subtleties with a clarity that was both astounding and gratifying. An account of Summer from The Four Seasons sprang to new and fascinating life, with notes more often than not clothed in glorious tone, its movements presented like a chaplet of flawlessly fashioned gems.I was particularly impressed with Roberts’ transcription of Rachmaninov’s song How Beautiful it is Here! Luminous tone, clarity of line and profound expressiveness made this one of the evening’s most memorable moments. Peak of the evening lay in the keeping of Bach: the slow movement from his Concerto for 2 violins BWV 1043 was a model, not only of the transcriber’s art, but a remarkable unbottling of its gentle genie. Bravissimo!" - Phoebe Schuman, OZArts Review, July 5, 2011
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"STANDING OVATION FOR PIANO VIRTUOSO - Local musicians learn from one of the best [subheading]. Australian pianist Cameron Roberts received a standing ovation last Friday at Wangaratta Performing Arts Centre. The audience was also treated to two encores… Arts Council president, Margaret Brickhill, said Roberts' brilliant technique and creativity in performance were evident throughout the two-hour concert." - THE CHRONICLE, Australia, March 31, 2010
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"Medicine's loss is music's gain as pianist's star rises"
"The other day, I listened to a new CD by a pianist whom I'd not heard before. Only seconds into track one, however, I knew I'd not easily forget the name. Make a note of it: Cameron Roberts. On the evidence of this recording, Roberts has the potential to become an international star. Roberts' account of his own transcription of Summer from Vivaldi's Four Seasons, for instance, draws on a dazzling rainbow of tonal colours. It's playing that rivets the attention even in such hackneyed pieces as Tchaikovsky's 1812 Overture and Gershwin's Rhapsody in Blue. It's virtuosic playing that is frankly thrilling. His 2006 debut CD on the MOVE label, Bach's Goldberg Variations and Original Transcriptions, was praised as thought-provoking and…" (continued in The West Australian, June 4, 2010 at: thewest.com.au)
"En el día de ayer pude escuchar uno de esos conciertos que no nos dejan indiferentes, ni por el programa, ni por los intérpretes, la violonchelista alemana Beate Altenburg, afincada en nuestro país desde hace un lustro y el pianista Cameron Roberts, casi recién llegado a la vida musical madrileña. En primer lugar, quiero destacar el hecho de que, durante todo el recital, el piano permaneció con la tapa complétamente levantada. Pocas veces, por desgracia en España, nos encontramos con unos verdaderos cameristas y con un pianista que sepa adecuar su sonido para que el del chelista nos llegue en toda su integridad sin tener que "sacrificar" a su instrumento bajando la tapa. Si a eso le sumamos que la versión que hace Beate de la sonata de Rachmaninov es realmente intimista, sobrecogedora en muchos momentos, esto nos da la idea del magnífico músico que es Cameron Roberts." - Notastenidas, 2008
Translation: ["Yesterday I had the pleasure of attending one of those concerts that leaves a lasting impression, both for the program and the performers: the German cellist Beate Altenburg, who has lived in Spain for the past five years, and the pianist Cameron Roberts, a relative newcomer to the Madrid music scene. First and foremost, I want to highlight the fact that, throughout the entire recital, the piano lid remained completely open. Unfortunately, it is rare in Spain to encounter such true chamber musicians and a pianist who knows how to adjust their sound so that the cellist's music reaches us in its entirety without having to 'sacrifice' their instrument by lowering the lid. If we add to that the fact that Beate's interpretation of Rachmaninoff's sonata is truly intimate, breathtaking at many moments, it gives us a glimpse of what a magnificent musician Cameron Roberts is.]"
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“The [Bach] is not short on colourful touches. Roberts using sustaining pedal discreetly and introducing some metrical flexibility, as well as opening up some usually hidden lines, as in the final Quodlibet. With a highly developed technical facility, the pianist made exciting work of the faster sections, particularly those that require the hands to cross. Roberts has a clear grasp of the work and manipulated its internal pulleys and levers with impressive insight... He ended with his own transcription of the Bach Brandenburg Concerto No. 3, a sterling demonstration of keeping most of the original’s 10 lines on the boil, admirable at many points for the player’s clean management of the chain of thirds... Roberts’ praiseworthy treatment of another [Rachmaninoff] song, Sleep – the most effective example of this young artist’s high level of musicianship" – Clive O’Connell, THE AGE, Melbourne, Australia, 2006
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“One of the National Academy’s brighter sparks, pianist Cameron Roberts, gave a splendid hour’s worth of varied repertoire on Saturday night. He opened with an exemplary Bach Partita No. 1, a lucid appreciation of the work’s benign busy-ness coming over. This was followed by Scriabin’s Sonata No. 5, treated with a compelling breadth of expression and subtlety that mitigated the work’s neurasthenic language. Two deftly contrasting Grainger pieces preceded four Rachmaninov preludes of high-calibre playing. Along with the essential technical facility, Roberts invested these with a controlled vehemence that you might have encountered in a musician twice his age. He is no slouch at bravura, either, as shown by his glittering, slick reading of Gershwin’s 'I got rhythm' in a Earl Wild transcription, with his own touches added for good measure.” – Clive O’Connell, THE AGE, Melbourne, Australia, 2000
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"Cameron Roberts made an intelligent and suitably grandiose creature of the “Emperor”, No.5 in E flat. This involves a test of any player’s stamina. Roberts displayed a highly impressive grasp of the concerto’s framework and his position inside it. He is a significant talent.”– Clive O’Connell, THE AGE, Melbourne, Australia, 1999
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COMPOSITIONS:
Nursery Rhyme Rhapsody (2016)
For Flute and Piano (duration: 6') – full score and parts (un-bound sheets, or as PDF)
Sad Bird Blues (2008)
for piano solo (duration: 6-7') – full score
Other links:
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Roberts – Sad Bird Blues (2008)
Ashley Hribar (piano). Studio recording. Auster Records, 2011 |