Classical music world mourns loss of 'voice' Andrew Clements after a lifetime of championing new sounds.
Andrew Clements, the Guardian's chief classical music critic for over three decades, has died at 75. Known for his incisive writing style, Clements was a model of critical integrity – authoritative and intelligent, yet occasionally dryly witty. His reviews not only conveyed what a performance had sounded like but also transported readers to new musical worlds.
A tireless advocate for fresh talent, Clements championed many emerging composers, including those who pushed the boundaries of modern classical music. He was an unwavering champion of innovative works, often providing much-needed support to lesser-known artists.
Beyond his passion for classical music, Clements had a wide range of interests that informed his writing. His love of Latin American literature and natural history – reflected in his observation about Peter Eötvös's opera Love and Other Demons – added depth to his reviews. He was also an avid gardener, collector of rare plants, and bird enthusiast, often finding parallels between these pursuits and the world of music.
Clements' writing career spanned over four decades, taking him through various roles as a critic, editor, and books commissioning editor. At the New Statesman, he became one of its longest-serving critics, while also contributing to Time Out and the Financial Times. He was instrumental in championing several significant musical titles for Faber & Faber and wrote extensively for Opera magazine.
A Cambridge-educated physicist turned music critic, Clements developed a unique voice that bridged worlds – from theoretical physics to opera reviews. The enigmatic writer's background as an only child with parents from farming families gave him an outsider perspective, allowing him to maintain his independence and impartiality in the face of intense musical opinions.
Throughout his life, Clements was committed to covering regional music scenes, a trait that endeared him to many critics. His relationship with pianists and piano literature ran deep – his reviews often revealed a profound understanding of these worlds. A notable reviewer for The New Grove Dictionary of Music, he penned several authoritative pieces on notable composers.
In the twilight of his career, Clements continued to review recordings from his home in Oxfordshire, writing until his health failed him. Just before Christmas 2025, he published one final piece – a tribute to Nadia Boulanger's opera La Ville Morte – which would mark the beginning of a new chapter for those mourning his loss.
Andrew Clements left an indelible mark on classical music journalism and will be deeply missed by readers who cherished his unique voice.
Andrew Clements, the Guardian's chief classical music critic for over three decades, has died at 75. Known for his incisive writing style, Clements was a model of critical integrity – authoritative and intelligent, yet occasionally dryly witty. His reviews not only conveyed what a performance had sounded like but also transported readers to new musical worlds.
A tireless advocate for fresh talent, Clements championed many emerging composers, including those who pushed the boundaries of modern classical music. He was an unwavering champion of innovative works, often providing much-needed support to lesser-known artists.
Beyond his passion for classical music, Clements had a wide range of interests that informed his writing. His love of Latin American literature and natural history – reflected in his observation about Peter Eötvös's opera Love and Other Demons – added depth to his reviews. He was also an avid gardener, collector of rare plants, and bird enthusiast, often finding parallels between these pursuits and the world of music.
Clements' writing career spanned over four decades, taking him through various roles as a critic, editor, and books commissioning editor. At the New Statesman, he became one of its longest-serving critics, while also contributing to Time Out and the Financial Times. He was instrumental in championing several significant musical titles for Faber & Faber and wrote extensively for Opera magazine.
A Cambridge-educated physicist turned music critic, Clements developed a unique voice that bridged worlds – from theoretical physics to opera reviews. The enigmatic writer's background as an only child with parents from farming families gave him an outsider perspective, allowing him to maintain his independence and impartiality in the face of intense musical opinions.
Throughout his life, Clements was committed to covering regional music scenes, a trait that endeared him to many critics. His relationship with pianists and piano literature ran deep – his reviews often revealed a profound understanding of these worlds. A notable reviewer for The New Grove Dictionary of Music, he penned several authoritative pieces on notable composers.
In the twilight of his career, Clements continued to review recordings from his home in Oxfordshire, writing until his health failed him. Just before Christmas 2025, he published one final piece – a tribute to Nadia Boulanger's opera La Ville Morte – which would mark the beginning of a new chapter for those mourning his loss.
Andrew Clements left an indelible mark on classical music journalism and will be deeply missed by readers who cherished his unique voice.
I'm still tryin' to wrap my head around this, mate... 75 years young is a bloomin' age, but it's the end of an era for classical music fans everywhere 
. I mean, think about all the times you'd stumble upon his review in The Guardian and just know you were in for a treat 
. He had this way of makin' the ordinary sound like magic 
.
. He saw somethin' in 'em that we didn't, and he shared it with the world in a way that made us care 
.
! And don't even get me started on how much music he loved beyond classical... I mean, Latin lit and birdwatchin'? Talk about multi-talented 
.
. Rest in peace, Andrew Clements 
.
Can't believe someone finally passed away, I guess that means we won't have to read through another one of his 'masterpieces' 
. Just kidding (kind of). Seriously though, he was a legend in the music world and it's sad to see him go. I mean, who else could make you sound like you're actually listening to a bunch of old people playing instruments? 
It's a bittersweet day indeed, as we bid farewell to the stalwart Andrew Clements 
. His passion for innovation and championing fresh talent was contagious 
. What struck me most about Clements' remarkable career is his ability to seamlessly weave together disparate interests – literature, natural history, and even botany – into his critiques 
. His unique blend of intellectual curiosity and musical acumen was truly refreshing 
. As a culture, we've lost a true voice for classical music 
, but his legacy will continue to inspire new writers and artists 
.
. Clements' life was full of interesting pursuits – Latin American lit, natural history, and birdwatching? who knew all that could inspire such great writing about music 
. As we celebrate his life and work, I'm left pondering the fragility of artistic expression and the power of one individual's voice to shape our understanding of the world 
.
. His love of Latin American literature and natural history added this whole new layer to his writing - it's no wonder he was able to transport readers to new musical worlds 
. anyhoo, feels like classical music lost one of its biggest voices 
. His writing wasn't just about critiquing performances, it was an experience that transported you to another world 
. What I miss most about him is the fact that he wasn't afraid to speak his mind and champion those who were pushing boundaries 
. His legacy will live on through the music we loved in the first place 
. his writing style was all about conveying the emotions, not just listing off notes 
it's like when someone leaves a beautiful garden untouched - you'll always remember how they made it bloom and now it's gone to seeds...Andrew Clements was the one who watered that garden of classical music with his words, making it grow into something beautiful for all of us 
he didn't just review music, he helped people see it in a new way, like when you're walking through a forest and someone tells you about the sounds of the birds...it changes everything!
he's gonna be deeply missed by classical music fans everywhere, rest in peace 
. He was like a bridge between old school critics and new sounds, always pushing boundaries 
. He may have left us too soon but his legacy lives on in the music world 
his writing style was so unique 
And his passion for fresh talent inspired countless emerging composers 
, with a wide range of interests that made his reviews truly special 
I loved how he championed emerging composers and lesser-known artists, giving them much-needed support