Critical acclaim of the highest order continues to carry the name of Clancy Newman as this remarkable young Naumburg Competition winning cellist brings his musical acumen and superb technique to the stage. Recent engagements include the Elgar Concerto with the Hartford Symphony and the Shostakovich Concerto with the Southwest Florida Symphony.

Newman’s creative output includes the phenomenal Pop-unpopped series of solo cello pieces based on U.S. Billboard Chart #1 hits.

The Philadelphia Inquirer wrote of his Brahms “Newman played the tricky Cello Sonata No. 2 Op. 99. In the opening seconds, the primary melody encompasses opposite extremes in the cello’s range, and few performers are comfortable enough with it to account for why. Newman’s exceptional technique seeks not to scintillate but integrate, spotlighting individual notes without having them step out of a meaningful legato line. Thus, he projected interpretive ideas even in Brahms’ knottiest moments, making the opening passage a musical question and answer – and a matter of utmost importance. From there, no other performance of Op. 99 (and as a Brahms geek, I’ve heard plenty) so masterly told the story of this piece.” (David Patrick Stearns, Philadelphia Inquirer)

About Clancy Newman:
First prize winner of the 2001 Walter W. Naumburg International Competition and recipient of an Avery Fisher Career Grant in 2004, cellist Clancy Newman has a dual career as both performer and composer. As a cellist, he has performed as soloist in most of America’s major cities, and has been a member of several of the countries most distinguished ensembles: Chamber Music Society Two of Lincoln Center, Musicians from Marlboro and in an acclaimed trio with pianist Yael Weiss and violinist Mark Kaplan.

In performance of an extensive concerto repertoire — from Barber to Elgar to Shostakovich – Clancy Newman has performed as concerto soloist with the National Symphony Orchestra, the Juilliard Orchestra, the symphonies of North Carolina, Jacksonville, Richmond, Hartford, Santa Fe and ProMusica, among many others. His recitals throughout the United States have included a Lincoln Center recital at Alice Tully Hall that garnered enormous critical acclaim. Newman has appeared on A & E’s Breakfast with the Arts, can often be heard on American Public Media’s Performance Today.

Originally from Albany, NY, Mr. Newman began playing cello at the age of six, and at twelve he received his first significant public recognition when he won the Gold Medal for Strings at the Dandenong Youth Festival in Australia, competing against instrumentalists twice his age. In the years that followed, he won numerous other competitions, including the Juilliard School Cello Competition, the National Federation of Music Clubs competition, and the Astral Artists National Auditions.

He developed an interest in composition at an early age, writing his first piece when he was seven. Under Astral’s auspices, his String Quartet (2002), Sonata for Cello and Piano (2004), and “Four Seasons” for cello and chamber orchestra (2005) received their world premieres. He premiered his Four Pieces for Solo Cello (2003) at the Violoncello Society in New York City. He has received commissions from Astral Artists, the Barnett Foundation, the Carpe Diem String Quartet, and the UBS Chamber Music Festival of Lexington. His works have been featured on the Chamber Music Society of Lincoln Center’s “Double Exposure” series and the Chicago Chamber Musicians’ “Freshly Scored” series, and has received numerous distinguished commissions.

Upon receiving a Master of Music Degree from The Juilliard School, he became one of the first students to complete the five-year exchange program between Juilliard and Columbia University, where he received a Bachelor of Arts degree in English. Mr. Newman’s teachers have included David Gibson, Joel Krosnick and Harvey Shapiro.

“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

Download a Press Flyer

“Newman…seems to be in a class of his own…”
The Philadelphia Inquirer

“brought the audience to its feet in a standing ovation.”
Springfield Republican/MassLive.com

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

“The youthful Newman once again proved that he is an exceptional cellist”
The Strad

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

“Kaplan and Newman matched each other perfectly in the execution of Brahms’ by turns argumentative and intimate duet writing. Each musician had mastered the individual challenges of the piece (including some fiendishly difficult double-stops in both parts) and turned their attention to the intricate dialog that makes the concerto unique in the genre. The finale… displayed the soloists at the peak of their powers, and brought the audience to its feet” [Brahms Double Concerto, Springfield Symphony] The Republican

“His projection of the taxing cello part in the Beethoven sonata realized both the tigerish intensity of the more energetic sections and the (suitably!) Olympian serenity that prevails through much of the work.” [Olympic Music Festival] Seattle Times

“It was exhilarating to watch….Newman had no difficulty projecting his aggressive, hard-edged sound.” [Barber Cello concerto] Richmond Times-Dispatch

“Newman quickly won listeners’ hearts, exhibiting both a sensitivity and intensity…”
Chicago Tribune

“Newman’s technical mastery proved entirely dazzling.”
San Francisco Chronicle

“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

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

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

“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.”
ArkivMusic.com [CD review]

Springfield Republican/MassLive.com“brought the audience to its feet in a standing ovation.” [Brahms Double Concerto]

KONK.net [PDF] with the South Florida Symphony “everything one could ask for from a cellist”

The Australian [PDF] “intoxicating sensuality”

Sydney Morning Herald [PDF] “a lush, generous tone”

Chicago Classical Review [PDF]  ” a tour de force”

Philadelphia Inquirer, November [PDF]  “exceptional technique”

Seattle Times  “tigerish intensity…and… Olympian serenity “

Philadelphia Inquirer 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 Australian

“His projection of the taxing cello part in the Beethoven sonata realized both the tigerish intensity of the more energetic sections and the (suitably!) Olympian serenity that prevails through much of the work.” [Olympic Music Festival]
Seattle Times

“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

Marlos Nobre: Poema III (New Bedford Symphony) – watch

Barber Cello Concerto (excerpt) – listen

Chopin: Sonata (III) – watch

Mendelssohn: Sonata (IV) – watch

Newman: Method to Madness – watch

Newman: Pizzicato Piece – watch

Aaron Jay Kernis Trio in Red – watch

Pop-Unpopped Videos (including Uptown Funk with kids) – watch

Bloch: Schelomo excerpt – listen

Beethoven Sonata opus 69 – listen

The Pizzicato Piece – listen