The classical music world is in mourning following the death of Andrew Clements, the Guardian's long-serving and profoundly influential classical music critic. Clements, who was born in 1950 and died in 2026, served as a defining critical voice for decades. His passing has prompted an outpouring of tributes from leading composers, performers, and colleagues, who have hailed his integrity, vast knowledge, and unwavering commitment to new music.
A Critical Voice of Unmatched Integrity
Across a career spanning generations, Andrew Clements established himself as a critic of rare principle and depth. His judgment was respected, and at times feared, for its clarity and independence. As former Guardian editor-in-chief Alan Rusbridger recalled, he was hired on the recommendation of pianist Alfred Brendel, who insisted the paper needed "someone who understands modern music." Clements proved to be exactly that.
He maintained a strict professional distance, impressing colleagues like composer George Benjamin, who noted that despite knowing him for 45 years, their relationship was defined by that critical remove. Yet, his support could be career-defining. Composer Cheryl Frances-Hoad said a positive review from Clements was proudly displayed on every funding application, tangibly advancing her work.
Champion of the New and Adventurous
Clements's passion lay in contemporary and adventurous music. His tastes were open and international, with a keen ear for developments beyond the UK. He was an early champion in Britain of French spectral composer Gérard Grisey in the mid-1980s, and consistently supported figures like Xenakis, Lachenmann, and Saariaho. He called George Benjamin's opera 'Written on Skin' "remarkable and spellbinding."
This advocacy extended to the institutions that programmed new work. Stephen Newbould, former artistic director of the Birmingham Contemporary Music Group (BCMG), said Clements's presence at a concert was an endorsement. "To see him there meant to me, as artistic director, that I must be doing my job well," Newbould stated. Similarly, his continued support for the Cheltenham music festival, which he had attended in his youth, was a motivating force for its directors.
However, his praise was never guaranteed. His reviews were celebrated for their objectivity; fondness for a festival or composer never softened his critique. As Meurig Bowen of the Cheltenham festival noted, if he didn't like something, his disapproval was delivered with "commendable objectivity and clarity."
A Renaissance Man: Beyond the Concert Hall
Colleagues and friends remembered a man of wide-ranging passions beyond music. He was a dedicated birdwatcher, with an encyclopedic knowledge that pre-dated apps, and he made a special trip to Iceland to seek out the Barrow's goldeneye duck on a tip from a fellow critic. He was a fervent Arsenal fan, and evenings at his home in Highbury could involve discussions on Stravinsky, politics, and football.
He shared a life with librettist and translator Amanda Holden, and his personal connections sometimes required professional recusal, such as not reviewing operas by composer Brett Dean, who worked with Holden. Colleagues also cherished his "deeply irreverent wit" and joy in "scurrilous gossip," often shared in phone calls that, as Opera editor John Allison wryly noted, sometimes doubled as deadline-avoidance.
A Legacy of Sharp, Generous Writing
As a writer, Clements was a superb stylist. Colleague Nicholas Kenyon observed that across thousands of reviews, "Andrew never wrote an ugly sentence." His prose was lucid, sharp-edged, and capable of illuminating the most complex contemporary works. Pianist Tamara Stefanovich described his criticism as "generative," creating a "zone of intellectual hospitality" where artists were "taken seriously enough to be challenged."
His passing marks the end of an era. For the London Sinfonietta's Andrew Burke, it is "the passing of a particular time and voice." For the wider community, as summarised by creative producer Jackie Newbould, he was "above all, a treasured spirit, one of the rare ones who understood how vital music is for the human soul." His insightful, courageous, and meticulously crafted writings leave a void that will be deeply felt across the world of classical music.
