The classical music world has lost a remarkable figure: Andrew Clements, the well-respected critic for The Guardian, passed away at the age of 75 following a period of illness. His contributions to music criticism were profound and far-reaching.
Clements joined The Guardian's arts team back in August 1993, taking over from Edward Greenfield as the chief music critic. His entry into this prestigious role was significantly influenced by a personal recommendation from the esteemed pianist Alfred Brendel, who believed that Clements' extensive knowledge of contemporary music made him the ideal candidate. For an impressive 32 years, Clements wrote passionately about a wide array of classical music topics, impressively showcasing his expertise not only within the pages of The Guardian but also in various other platforms.
As a critic, Clements possessed a unique voice that stood out in the field. His deep-rooted love for music was always evident in his writing. He earned immense respect among his peers, and his hard-earned five-star reviews were considered invaluable. While health issues prevented him from attending live performances since March 2025, his insightful reviews continued until very recently, with his final CD review being published on January 2nd of this year.
Clements' journey into the world of music began during his school days when he was a budding flutist. His encounter with a composition by Pierre Boulez sparked a lifelong passion for contemporary music, leading him to accumulate a wealth of musical knowledge. Remarkably, he could recall nearly every concert he had ever attended, showcasing his dedication to the art form. Throughout his career, Clements was unafraid to challenge traditional views, often voicing strong opinions that sometimes ruffled feathers in the conservative corners of the music world.
Before his time at The Guardian, he served as a music critic for the New Statesman and held the position of editor at Musical Times. From 1979 to 1993, he also contributed to the Financial Times. His professional journey began post-university, where he worked with Faber music publishers and the Open University after earning a degree in theoretical physics from Cambridge University.
Clements played a crucial role in promoting the works of composers such as Harrison Birtwistle, Hans Abrahamsen, Oliver Knussen, and Mark-Anthony Turnage, helping to elevate their profiles among critics and music organizations. Additionally, he had a profound appreciation for solo piano compositions. In one of his last pieces, he expressed profound admiration for the late Romanian pianist Radu Lupu, stating that no pianist had brought him more joy or wonder over the span of his 50-year concert-going experience.
Beyond his musical pursuits, Clements had a deep affinity for nature, particularly birds, butterflies, and orchids. He had a keen eye for detail, and any opera designer who misrepresented a bird would certainly face his scrutiny.
Despite his sometimes stern demeanor, those who knew him recognized his warm and generous spirit. Clements was known for his supportive nature, quick to offer praise, patient with inquiries, and insightful with his critiques. Above all, he possessed a great sense of humor, often able to laugh at himself.
Katharine Viner, the editor-in-chief at The Guardian, reflected on Clements’ legacy, stating: "Andrew Clements wrote about classical music with the utmost passion and precision. His reviews for The Guardian drew on a lifetime of discerning listening and, as well as being illuminating, were always a joy to read."
What do you think about the impact of critics like Clements on the perception of contemporary music? Do you agree that their voices can shape the landscape of musical appreciation? Share your thoughts below!
