Clancy Newman

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