"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
Chopin: Sonata (III)
Mendelssohn: Sonata (IV)
Method to Madness
The Pizzicato Piece
Newman: Pizzicato Piece
Aaron Jay Kernis Trio in Red
Return to Clancy Newman homepage
photo credit: J. Henry Fair
Clancy Newman, cello
Australian 2012 [PDF] "intoxicating sensuality"
Sydney Morning Herald 2012 [PDF] “a lush, generous tone”
Chicago Classical Review 2011 [PDF] " a tour de force”
Inquirer, November 2009
Philadelphia Inquirer, December 2009 educational outreach article
"I knew from the moment Newman began to spin
out the gorgeous open-hearted melody that opens the work that this performance
was going to be special."
Arkiv Music [CD review]
"Along with a technique that seems to possess no limitations, his playing is
unobtrusive, responsive and beautiful."
"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
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]
"Cellist Clancy Newman quickly won listeners’ hearts, exhibiting both a
sensitivity and intensity…"
"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."
"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
New York Concert Review
"The youthful Newman once again proved that he is an exceptional cellist and
also a valuable chamber musician."
"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."