Hailed as “an exceptional cellist” (The Strad) and “in a class of his own” (Philadelphia Inquirer) Clancy Newman is a Naumburg Competition winning cellist who brings his musical acumen and superb technique to the stage and the recording studio. Honored with an Avery Fisher Career Grant, he is also a composer whose creative output includes his inventive Pop-Unpopped series of solo cello pieces based on U.S. Billboard Chart #1 hits. In recent appearances at the festivals of Lake Champlain, Moab, Kingston and others, Newman has collaborated with many of today’s leading artists, including Hilary Hahn, Miriam Fried, David Shiffrin, Ricardo Morales and Natalie Zhu. His duo recital with acclaimed guitarist Jason Vieaux was a feature of the 2021 Philadelphia Chamber Music Society season.

Newman has performed as soloist throughout the United States, as well as in Europe, Asia, Canada, and Australia. Recent performances from his extensive concerto repertoire include the Elgar Concerto with the Hartford Symphony and the Shostakovich Concerto with the Southwest Florida Symphony. He has also performed as concerto soloist with the National Symphony Orchestra, the Juilliard Orchestra, the symphonies of North Carolina, Jacksonville, Richmond, Hartford, Delaware and Santa Fe, among many others.

He has performed recitals in many of the country’s most prestigious venues, including a Lincoln Center recital at Alice Tully Hall that garnered significant critical acclaim. He can often be heard on NPR’s “Performance Today” and has been featured on A&E and PBS. In his substantial career as a composer he has written much for solo cello, premiering his Four Pieces for Solo Cello at the Violoncello Society in New York, his Sonata for Cello and Piano in New York’s Weill Hall, and his Four Seasons of Life for cello and string orchestra with Symphony in C in Philadelphia. His “Pop-Unpopped” project, in which he writes solo cello caprices based on pop songs, has been ongoing since 2014 and has led to an exploration of cello techniques heretofore unimagined.

Newman has guest lectured on the Golden Ratio Method, a method of composition he invented, and has been featured on series by the Chamber Music Society of Lincoln Center and the Chicago Chamber Musicians. In March 2019 his piano quintet, commissioned by the Ryuji Ueno Foundation, was premiered at the opening ceremony of the National Cherry Blossom Festival in Washington DC. His piano trio, Juxt-Opposition, is available on Bridge Records. Newman is currently working on two commissions, one for the Formosa String Quartet and the other for violinist Tai Murray.

Excelling in other forms of expression, Newman produced the Formosa String Quartet’s 2019 CD “From Hungary to Taiwan”, which is available on Bridge Records. He also produced a set of four educational videos, commissioned by the Kingston Chamber Music Festival in 2021 to assist schoolteachers navigating the covid-19 pandemic.

Clancy Newman is a graduate of the five-year exchange program between Juilliard and Columbia University, receiving a M.M. from Juilliard and a B.A. in English from Columbia. His teachers have included David Gibson, Joel Krosnick and Harvey Shapiro.

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)

“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)

PBS Newshour features cellist Clancy Newman performing a work by Bright Sheng. In this Newshour Weekend piece Moab Music Festival draws fans to Utah’s ethereal desert the rugged and beautiful landscape becomes the natural concert hall. Link here.

Clancy Newman performed the “Summer” movement from his composition The Four Seasons of Life along with the Tchaikovsky Rococo Variations in concert with the Bartlesville Symphony Orchestra this fall. He’s now making his debut as a recording producer for the Formosa String Quartet’s new Bridge Records release. On tour in Australia this spring he will include a lecture on his Golden Ratio Method of composition while at Australian National University; and his new piano quintet, commissioned by the Ryuji Ueno Foundation, will be premiered at the National Cherry Blossom Festival in Washington DC. On top of all this, he will also maintain a busy performing schedule, with chamber music and solo concerts in the US and recitals in Australia.

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“Newman was spectacular in the Dumky, his generous use of vibrato perfect for the Bohemian mixture of pathos and passion.”
Daily Telegraph

“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

“Newman, a past Naumburg winner, joined violinists Iwasaki and Rose, violist DerHovsepian, and pianist Novacek to give an unabashedly intense reading, building to a fever pitch while still in the opening exposition—and setting up a hypnotic moment for Newman’s breathtaking delivery of the cello solo at the beginning of the development section.”
Theater Jones

“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]

 

Daily Telegraph “Newman was spectacular in the Dumky, his generous use of vibrato perfect for the Bohemian mixture of pathos and passion.”

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

KONK.net  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 Sonata op. 6 (with pianist Natalie Zhu) – video

Bloch: Schelomo – Rhapsodie Hébraïque for Cello & Orchestra – video

Duo recital with guitarist Jason Vieaux – video
Works by: Radames Gnattali, Manuel De Falla; Augustin Barrios; Raffalele Bellafronte

Beethoven: Variations on a theme from Mozart’s Magic Flute – video

Bright Sheng: Seven Tunes Written in China – featured on PBS Newshour – 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 – Uptown Funk (youth outreach) – watch
Pop-Unpopped Videos page – watch

Bloch: Schelomo excerpt – listen

Beethoven Sonata opus 69 – listen

The Pizzicato Piece – listen