The Guardian's long-serving and highly respected classical music critic, Andrew Clements, has died at the age of 75 following a period of illness. His passing on Sunday marks the end of a distinguished 32-year tenure at the newspaper, where his authoritative and passionate writing shaped the understanding of classical music for a generation of readers.
A Formative Encounter and a Lifelong Passion
Clements' profound journey into music criticism began unexpectedly. While still a schoolboy and a young flautist, he heard a piece by the modernist composer Pierre Boulez. This experience proved transformative, unlocking a door to a deep, lifelong engagement with contemporary music that would become the cornerstone of his expertise. His memory for performances was legendary; he could recall almost every concert he attended over decades.
He joined The Guardian's arts team in August 1993, taking over from Edward Greenfield as the paper's chief music critic. His appointment was notably secured by a personal recommendation to the editor from the late, great pianist Alfred Brendel, who advocated for Clements based on his exceptional grasp of modern musical works.
An Uncompromising and Knowledgeable Voice
For over three decades, Clements' writing ranged across the entire spectrum of classical music and beyond. He was known as an outstanding critical voice, whose deep knowledge and evident love for the subject shone through in every review and article. He commanded huge respect from his peers, and the value of his meticulously considered five-star reviews was considered inestimable within the industry.
He was unafraid to ruffle feathers, steadfastly adhering to his well-formed convictions and refusing to follow more conservative or orthodox opinions. His championing of composers such as Harrison Birtwistle, Hans Abrahamsen, Oliver Knussen, and Mark-Anthony Turnage was instrumental in ensuring their work was taken seriously by other critics and musical institutions.
While ill health had prevented him from reviewing live events since March 2025, his final CD review was published on 2 January. Beyond his focus on contemporary works, he held a particular affection for solo piano music. In one of his last pieces, he paid tribute to the late Romanian pianist Radu Lupu, writing that "no pianist I have heard in more than 50 years of recital going has given me more consistent pleasure or a greater sense of wonder."
A Rich Career and Personal Passions
Before his long stint at The Guardian, Clements built a formidable career in music journalism. He served as the music critic for the New Statesman and was the editor of the Musical Times. He also wrote for the Financial Times between 1979 and 1993. His career began in publishing at Faber music and at the Open University, following a degree in theoretical physics from Cambridge University.
Outside the concert hall, Clements was a dedicated naturalist with an abiding passion for birds, butterflies, and orchids—his attention to detail was so sharp that he would note any ornithological inaccuracies in opera set designs. Colleagues remember that his occasionally gruff exterior belied a kind, warm, and generous nature. He was supportive, quick with praise, patient with questions, and possessed of penetrating insights, always ready to laugh at himself.
Katharine Viner, The Guardian's editor-in-chief, said: "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."
