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"Newman’s piece built from a lush, chorale-like treatment of its folk-melodic material into an increasingly violent furor on the strings — punctuated by percussive eruptions from the keyboard — before starting to wittily jump-cut back and forth between well-mannered chorale and haywire explosiveness." [Clancy Newman's "Juxt-Opposition" at the Kennedy Center] Washington Post, 2012

Media

Chopin: Sonata (III)

Mendelssohn: Sonata (IV)
Newman: Method to Madness
 
  Bloch: Schelomo excerpt
  Beethoven Sonata opus 69
  The Pizzicato Piece


Newman: Pizzicato Piece


Aaron Jay Kernis Trio in Red 

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photo credit: J. Henry Fair

Clancy Newman, cello                                                            

  

"the opening of the Shostakovich was gloriously eerie, triumphantly weird, with Newman negotiating the opening melody all in harmonics with the nail-biting grace of a tightrope walker."
Sydney Morning Herald

“Newman was exceptional…playing with bristling intensity…. a tour de force.”
Chicago Classical Review

"Newman…seems to be in a class of his own: His phrasing choices seem indisputably right, but you can’t verbalize why because they’re so intuitively conceived. I can think of only one other cellist like that – the late Jacqueline du Pre."
The Philadelphia Inquirer

"…Clancy Newman played it with an exhilarating energy and a clear sense of its contours." [Ligeti Sonata for Solo Cello]
The New York Times

"It was exhilarating to watch….Newman had no difficulty projecting his aggressive, hard–edged sound." [Barber Cello concerto]
Richmond Times-Dispatch
 
"Cellist Clancy Newman quickly won listeners’ hearts, exhibiting both a sensitivity and intensity…"
Chicago Tribune

"Newman…plays with an intensity and fervor most soloists could only envy... Newman’s technical mastery proved entirely dazzling. He makes the case for composition and performance as being activities that are intimately bound up with each other."
San Francisco Chronicle

"[The] recital…began with Newman’s own Music for Unaccompanied Cello (2003), which was introduced by fellow composer Bruce Adolphe as ‘music so hard that even [Newman] cannot believe he’s playing it.’ And a bravura display it was."
The Strad

"Newman reminds me a bit of Joshua Bell. He is a throwback to those golden days when string players were not afraid to express themselves with generous amounts of vibrato."
New York Sun

"…an extraordinary player. His technique is brilliant but not showy and so natural that one forgets about it; playing with impeccable intonation and great speed and facility, he projects a sense of absolute security. His tone is dark, warm, and intense, with remarkable carrying power even in a floating pianissimo."
New York Concert Review

"The youthful Newman once again proved that he is an exceptional cellist and also a valuable chamber musician."
The Strad

"when you encounter cellist Clancy Newman, whose Philadelphia recital debut was Sunday at the Kimmel Center for the Performing Arts, you hear what you didn’t know you were missing: Classics utterly transformed without being dismantled.… what holds them together was illuminated by Newman with intense, coloristically varied tone at lower volume levels that, for most cellists, just isn’t possible.… Newman performed them in the way Maria Callas sang bel canto opera: The score releases the performer’s personality, re-creating the piece as soliloquy that’s somehow both personal and universal….you’d want to hear him play almost anything."
The Philadelphia Inquirer

"Hooray for Clancy Newman. This upstate New York native is one of the most acclaimed young cellists out there"
Philadelphia City Paper

"The program opened with [Yael] Weiss and Newman in a charm-exuding performance of Schumann’s Fantasiestucke for Cello and Orchestra, Opus 73."
Herald-Times