Renowned music critic Andrew Clements has left an indelible mark on the classical music world after passing away at the age of 75. His tenure as the Guardian's chief classical music critic spanned over three decades, during which he established himself as a model of critical integrity – both authoritative and intelligent.
With a unique ability to put music into words, Clements' writing style was marked by precision and a keen sense of observation. A tireless champion of new music, he had a deep passion for exploring the uncharted territories of contemporary classical music. His reviews often served as a testament to his unwavering dedication to showcasing innovative works, rather than simply praising established names.
Clements' eclectic interests extended far beyond music. He was an avid naturalist and Latin American literature enthusiast, which made him a fascinating commentator on the world premiere of Peter Eötvös's opera "Love and Other Demons" at Glyndebourne in 2008. His witty remark about the opera's failure to evoke a sense of place only added to his reputation as a sharp-witted critic.
Throughout his illustrious career, Clements worked with various publications, including the Guardian, New Statesman, and Musical Times. He held a range of positions, from music critic to editor, and even contributed to Time Out and Opera magazine. His collaboration with pianist Alfred Brendel played a significant role in securing his appointment as the Guardian's classical music critic.
One of Clements' defining characteristics was his unwavering commitment to covering regional music scenes. This stance earned him recognition among fellow musicians and critics alike. As a director of the Holst Foundation, he worked tirelessly to promote his beloved composer Ivor Gurney's poetry and legacy.
Clements' personal life was just as fascinating as his professional one. A keen gardener and lover of nature, he started collecting plants as a young boy and even kept poison dart frogs in captivity at one point. His travels took him across South America, where he indulged in bird-watching and developed a deep appreciation for Greek culture.
In his final years, Clements continued to contribute to The Guardian's classical music section, despite battling an illness. His penultimate review of Radu Lupu's recordings remains an enduring testament to his love for the piano literature. With his passing, the classical music world has lost a true giant, whose legacy will be cherished by those who knew him and admired his work.
With a unique ability to put music into words, Clements' writing style was marked by precision and a keen sense of observation. A tireless champion of new music, he had a deep passion for exploring the uncharted territories of contemporary classical music. His reviews often served as a testament to his unwavering dedication to showcasing innovative works, rather than simply praising established names.
Clements' eclectic interests extended far beyond music. He was an avid naturalist and Latin American literature enthusiast, which made him a fascinating commentator on the world premiere of Peter Eötvös's opera "Love and Other Demons" at Glyndebourne in 2008. His witty remark about the opera's failure to evoke a sense of place only added to his reputation as a sharp-witted critic.
Throughout his illustrious career, Clements worked with various publications, including the Guardian, New Statesman, and Musical Times. He held a range of positions, from music critic to editor, and even contributed to Time Out and Opera magazine. His collaboration with pianist Alfred Brendel played a significant role in securing his appointment as the Guardian's classical music critic.
One of Clements' defining characteristics was his unwavering commitment to covering regional music scenes. This stance earned him recognition among fellow musicians and critics alike. As a director of the Holst Foundation, he worked tirelessly to promote his beloved composer Ivor Gurney's poetry and legacy.
Clements' personal life was just as fascinating as his professional one. A keen gardener and lover of nature, he started collecting plants as a young boy and even kept poison dart frogs in captivity at one point. His travels took him across South America, where he indulged in bird-watching and developed a deep appreciation for Greek culture.
In his final years, Clements continued to contribute to The Guardian's classical music section, despite battling an illness. His penultimate review of Radu Lupu's recordings remains an enduring testament to his love for the piano literature. With his passing, the classical music world has lost a true giant, whose legacy will be cherished by those who knew him and admired his work.
it's such sad news about Andrew Clements... I can only imagine how tough this must be for all his fans & colleagues who knew him. 3 decades of critiquing classical music is a huge achievement, but what's even more impressive is the way he paved the path for new sounds & innovations. His passion & dedication to discovering emerging artists & styles will surely leave a lasting impact on the industry 
his life outside of music was also pretty fascinating - I mean, who knew he was a naturalist & loved birds? 
it's amazing how someone can make such a significant mark in multiple fields without ever seeking recognition. rest in peace, Andrew... you'll be deeply missed 
just heard about Andrew Clements' passing & I'm still trying to process how the music world is gonna be different without this legend 
my fave thing about him tho? he wasn't afraid to speak truth to power (or lack thereof) on the music scene, especially when it came to regional artists & scenes 
love how he was also a naturalist & Latin lit enthusiast, who didn't let his interests limit himself to just 1 area 
anyway, his contributions to The Guardian's classical section will be deeply missed by this platform loyalist 
his ability to capture the essence of a piece in just a few words is still unmatched by many today. and who can forget that infamous comment about "Love and Other Demons" 
it's moments like those that made him a household name among music lovers. the thing that strikes me most about Clements was his unwavering commitment to giving a voice to underrepresented artists 
he didn't just review classical music, he championed it. 
I mean, can you believe Andrew Clements was 75? That's like, ancient in music critic years 
. Anyway, I'm glad he left his mark on classical music, but I gotta say, I found it a bit predictable - all that praise for new and innovative works, yadda yadda 
. Don't get me wrong, I'm sure the guy was great at what he did, but some of this stuff feels like it's been done before 
.
What's up with that? 
. Just saying, I've got a sweet orchid setup at home and I'm the envy of all my friends 
.
. Maybe he should've taken on some more junior positions first, you know, like an intern or something 
. Just my two cents 
. And what's with all these eulogies from musicians and critics alike? It feels like a big PR stunt to me 
. I mean, can we just focus on the music instead of making a bunch of grand gestures? And don't even get me started on the whole "champion of new music" thing – what's wrong with appreciating established names who actually know how to write a good review? 
. And can we talk about how cool it is that he kept poison dart frogs as pets?! 
He was like a total music guru! Always pushing boundaries & championing new sounds. I'm sad to hear he's gone but at least we got to know more about the guy through his amazing writing 
His love for nature & Latin American culture is so inspiring... and who knew he was a naturalist too?