Helen Newby continually seeks ways to expand the technical and expressive boundaries of her instrument through close collaboration with other innovative performers, composers and artists. She is widely recognized for her “warm tone” and “intimate balanced sound” (The Washington Post), and as a “superb” and “committed champion” of new music (Cleveland Classical). Newby’s passion for collaboration and experimentation has led her to work with a number of both emerging and established composers, including Steve Reich, Chaya Czernowin, Marcos Balter, Sabrina Schroeder, Ashley Fure, and Tania León, among others. Her premiere solo album, Dialogue, featuring commissions by David Bird, Danny Clay, Adam Hirsch, Kurt Isaacson and Haley Shaw, was released in early 2017 on Ephemeral Stream Recordings.

Newby has performed with and alongside ensembles such as the JACK Quartet, San Francisco Contemporary Music Players, Eco Ensemble, Real Vocal String Quartet, One Found Sound, and Contemporaneous, among others. She is a founding member of Amaranth Quartet and Chartreuse. She has been in-residence at several new music-focused festivals such as Bang on a Can, the Banff Institute, New Music on the Point, SICPP, the Barnes Foundation and Music in Bloom (Bloomington, IN). Recent and upcoming collaborations with pop, electronic and indie artists include Kygo, Michael Bublé, and Gregory Porter, among others.

In addition to an active career as a performer, Newby is equally dedicated to education and working with emerging composers, performers, and communities of listeners. She has given concerts and workshops for undergraduate and graduate students at institutions including Oberlin College, Brown University, Georgia Southern University, DePauw University, SUNY Fredonia, Hillsdale College, Tromsø University, and the Norges Musikkhøgskole. She maintains a private teaching studio in Brooklyn, NY.

Newby studied at Oberlin College with Darrett Adkins (B.M.) before continuing her education at the San Francisco Conservatory of Music with Jennifer Culp (M.M). She began her studies in Los Angeles, CA with Rachael Lonergan. She plays on a 2016 “Allegrezzo” cello by Brian Lisus.

www.helennewby.com

In the Refuge of a Cave:
Before there were bunkers, fortresses, or strongholds, there were caves. Since long before the dawn of recorded history, caves have held a universal significance as a source of refuge—a safe haven from the elements, predators, and natural disasters. Inversely, however, caves have widely been known to inspire a sense of apprehension and foreboding as well—potentially harboring in the darkness the very dangers from which they are meant to offer protection.
Writing these program notes in late July of 2020, I can't help but compare the duality of caves to the tremendous changes that have taken place during the last six months. The Pandemic has forced just about everyone to reinvent their lives in order to preserve their safety and security. Whether metaphorically or analogously, we have all retreated to our caves in one way or another. For example, while many of us have achieved refuge through social distancing and sheltering-in-place, doing so has forced us to face the existential darkness of isolation and confinement.
In the Refuge of a Cave (2020) is my perspective on these themes as a composer and musician. What musical artists could once rely upon—concert spaces, audiences, even the ability to perform onstage together—has disappeared or drastically transformed in mere days. Now, one's own insights, abilities, and resources are the only certainties in their musical endeavors. When writing In the Refuge of a Cave, I imagined these restrictions as a literal cave surrounding the musical artist. What could a musician do to create music if they were isolated within a cave? How could one find artistic fulfillment in such a lonely and remote place? The only natural answer is that a musician would need to make do with the sonic resources and tools that the space granted them. The musician would utilize the reverberations and echoes generated by the cave's walls; in doing so, they would stumble upon a way to play music with another—a past version of theirself—an echo.
In the Refuge of a Cave is dedicated to my many friends and colleagues who have found themselves forced to navigate a unique cave of their own in these challenging times. Thus, it is designed to be playable by any instrument or voice type, and no two performances will ever sound alike.