Matthew Cameron's equal prowess as pianist, composer, and arranger places him in rarefied company among modern virtuosi. Fanfare Magazine called him a "boldly romantic pianist," the American Record Guide praised his "highly animated playing," and French music writer Michel LeNaour found him a figure of "profound musical consciousness." An innate technical command, broad palette of pianistic colors, and commitment to continuing the legacy of the virtuoso pianist-composer in the 19c. tradition have generated an ardent following in his native New York City and elsewhere.
Matthew plays original music on "Romantic Favorites" out on Arabesque Records (Z6833) including his Elegy, Song to the Wind, arrangement of Khachaturian's Adagio from Spartacus (G.Schirmer Editions) and works by Chopin and Liszt. A debut disc titled "Matthew Cameron plays Liszt" released in 2010 (Cala Records CACD88045) received immediate critical acclaim for renditions of the Don Juan Fantasy and Cameron's transcriptions of Les Preludes (IMC Editions), Hunnenschlacht and others, inspiring Audiophile Audition to declare that "in bravura passages Cameron equals anyone who champions Liszt."
Cameron's arrangements of both Mozart's Eine Kleine Nachtmusik (IMC Editions) and L. Mozart's Toy Symphony have been recorded by piano legend Cyprien Katsaris on the Piano21 label in Europe, and performed by Mr. Katsaris in China, Germany, France, Luxembourg, Mexico, Greece, and the United States.
In 2009 he collaborated with five other pianist-composers to create the "Hexameron: Book II" based on and structured after the Hexameron Variations of 1837, which he premiered at the 2010 American Liszt Society annual festival to a standing ovation from an audience of peers, pedagogues, and scholars. Later that year came the European premier of the same work at the Palace of Count Niccolo Capponi in Florence, Italy, at the inauguration of the Capponi Cultural Studies Institute, performing for representatives of the EU, and again that year at the Salle Erard in Paris.
At his 2008 Weill Hall debut at Carnegie Hall, he received a standing ovation from a sold-out audience, after which the New York Concert Review reported: "Resembling Franz Liszt from the stage...he distinguished himself from his many brilliant peers by projecting a composer's command of his repertoire. Though some might be cynical of "channeling Liszt" nowadays, Cameron’s genuine involvement and sensitivity suspended disbelief."
Studies with Efrem Briskin, Jenny David, Agustin Anievas, and coachings with Constance Keene and Charles Rosen. Solo performances at Carnegie Hall, Salle Erard, and at numerous international festivals. Arrangements published by G.Schirmer Editions and International Music Company Editions. Recordings for Arabesque Records and Cala Records.