RECORDINGS
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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Spanish Fire – Danzas Españolas (2011)
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Spanish Fire - Danzas Españolas |
Cameron Roberts - Original Piano Transcriptions (2009)
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Original piano transcriptions, including:
• 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 |
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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Solo piano recording, including:
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 |
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)
"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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Live recording from St.John’s, Southgate, Melbourne.
Works by Bach, Scriabin, Rachmaninoff, Grainger & Gershwin |
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)
“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)
Other links:
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Roberts – Sad Bird Blues (2008)
Ashley Hribar (piano). Studio recording. Auster Records, 2011 |
