An international critical voice
Andrew Clements, the long-serving and widely respected classical music critic of The Guardian, has died at the age of 75 after a period of illness. His death marks the loss of one of the most authoritative and distinctive critical voices in contemporary classical music writing.
Three decades at The Guardian
Clements joined The Guardian’s arts team in August 1993, succeeding Edward Greenfield as chief music critic. His appointment was personally recommended to the paper’s editor by Alfred Brendel, who highlighted Clements’ deep understanding of contemporary music. Over the next 32 years, he wrote across the full spectrum of classical music, earning wide respect for his independence of judgement and clarity of thought.
Champion of contemporary music
As a young flautist, Clements’ musical outlook was shaped by an early encounter with the music of Pierre Boulez—an experience that sparked a lifelong engagement with modern and contemporary repertoire. Throughout his career, he consistently championed composers such as Harrison Birtwistle, Hans Abrahamsen, Oliver Knussen and Mark-Anthony Turnage, helping to secure serious attention for their work among critics and musical institutions alike.
A critic with strong convictions
Renowned for his formidable musical memory and intellectual rigour, Clements was unafraid to challenge orthodox views or provoke debate. His five-star reviews were rare and keenly noted, reflecting standards that were demanding but deeply informed by listening and experience. Ill health prevented him from reviewing live performances after March 2025, though his final CD review appeared earlier this month.
Beyond the concert hall
Before joining The Guardian, Clements was music critic of the New Statesman, editor of The Musical Times, and a contributor to the Financial Times. He began his professional life at Faber Music and the Open University, following a degree in theoretical physics from Cambridge University. Outside music, he was known for his passion for birds, butterflies and orchids—interests that often found their way into his sharp-eyed commentary on opera productions.
Tributes from across the music world
Following news of his death, fellow critics, musicians and arts professionals expressed their sadness on social media, paying tribute to a colleague whose influence extended far beyond the UK. Though based in Britain, Andrew Clements’ writing shaped international conversations about classical music, repertoire and performance—particularly for English-language readers around the world.
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