"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"
Australian [PDF] "intoxicating sensuality"
Sydney Morning Herald [PDF] "a lush, generous tone"
Chicago Classical Review [PDF] " a tour de force"
Inquirer, November [PDF]
"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."
"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]
"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."