Andrew Clements, the Guardian’s distinguished classical music critic, passed away on Sunday at age 75 following a prolonged illness. He served the publication for 32 years with distinction and admiration from peers and readers alike.
In August 1993, Clements joined the Guardian’s arts department as chief music critic, replacing Edward Greenfield. Pianist Alfred Brendel personally endorsed his appointment, citing his exceptional grasp of contemporary composition. Throughout his tenure, he explored virtually every dimension of classical music and frequently ventured into related territories.
His musical journey began during his school years as a young flautist. A transformative encounter with Pierre Boulez’s work ignited his profound lifelong dedication to contemporary music. He retained remarkable recall of nearly every concert he attended. In his critical approach, Clements remained unafraid to challenge conventional wisdom and maintained independence from more traditional perspectives.
Before the Guardian, Clements held positions as music critic at the New Statesman and editor of Musical Times. He also contributed to the Financial Times from 1979 to 1993. His career began at Faber music publishers and the Open University following a Cambridge degree in theoretical physics.
Clements championed contemporary composers including Harrison Birtwistle, Hans Abrahamsen, Oliver Knussen and Mark-Anthony Turnage, helping establish their credibility among critics and music institutions. Solo piano repertoire represented another major passion. In one final piece, he expressed profound admiration for Romanian pianist Radu Lupu, stating no performer over his 50 years of concert attendance had provided greater consistent pleasure.
Beyond music, Clements devoted himself to observing birds, butterflies, and orchids. His attention to natural detail extended to his professional work, where he scrutinized operatic designs for accuracy. Despite presenting a sometimes gruff demeanor, he possessed genuine warmth and kindness. He demonstrated generosity toward colleagues, offered readily given praise, and approached interactions with patient insight.
Guardian editor-in-chief Katharine Viner remarked that Clements wrote about classical music with exceptional passion and precision. His reviews reflected decades of discerning listening and consistently delivered both illumination and reading pleasure. His final CD review appeared on January 2, though illness prevented him from reviewing live performances since March 2025.
