LONDON, January 2, 2026 – Andrew Clements, a deeply respected voice in classical music criticism, has died at the age of 75 following a period of illness.His insightful reviews and unwavering dedication to the art form spanned over three decades, shaping the landscape of music journalism.
A Legacy of Discerning Listening
Clements’ career was marked by a passion for both established masters and emerging composers, leaving an indelible mark on the world of classical music.
- clements joined the Guardian in August 1993, succeeding Edward Greenfield as chief music critic.
- His appointment was championed by the late Alfred Brendel, who recognized his profound understanding of contemporary music.
- Despite illness preventing live reviews since March 2025, his final CD review was published on January 2.
- Clements’ early musical experiences with the work of Pierre Boulez ignited a lifelong captivation with contemporary compositions.
Clements began his tenure at the guardian in August 1993,taking over from Edward Greenfield. His selection wasn’t accidental; the late Alfred Brendel personally recommended him to the editor, citing Clements’ exceptional grasp of contemporary music. For the next 32 years, he consistently delivered thoughtful and often provocative analyses of classical music, extending his reach beyond the GuardianS pages.
Championing New Voices
What composers did Andrew Clements consistently advocate for throughout his career? Clements was a fervent supporter of composers including Harrison Birtwistle, Hans Abrahamsen, Oliver Knussen, and mark-Anthony Turnage, playing a crucial role in securing their recognition within the critical community and the broader musical establishment.
Before his time with the Guardian, Clements held prominent positions at the New Statesman and Musical Times, serving as music critic for both. He also contributed to the Financial Times between 1979 and 1993. His career began at Faber & Faber as a Classical Music books editor, followed by work with the Open University, all after earning a degree in theoretical physics from cambridge University.
Clements’ passion for music was ignited during his school years as a flautist when he encountered a piece by Pierre Boulez. This experience sparked a lifelong engagement with contemporary music, and he possessed an almost photographic memory of the concerts he attended over the decades. He wasn’t afraid to challenge conventional wisdom,consistently adhering to his own well-defined convictions.
His love for solo piano music was particularly profound. In one of his last published pieces, a review of recordings by the late Radu Lupu, he wrote, “no pianist I have heard in more than 50 years of recital going has given me more consistent pleasure or a greater sense of wonder.”
Beyond music, Clements harbored a deep appreciation for the natural world, with a particular fondness for birds, butterflies, and orchids – a keen eye for detail that extended even to the accuracy of avian depictions in opera designs.
Those who knew him described a kind and generous nature hidden beneath a sometimes-gruff exterior. He was known for his supportive mentorship, quick praise, patient explanations, and insightful observations, always maintaining a self-deprecating sense of humor.
Katharine Viner, the Guardian’s editor-in-chief, stated, “andrew Clements wrote about classical music with the utmost passion and precision. His reviews for the Guardian drew on a lifetime of discerning listening and, as well as being illuminating, were always a joy to read.”
