In a world where music criticism can sometimes feel cold and detached, Andrew Clements stood out as a true champion of classical music. The Guardian’s long-serving and much-admired classical music critic passed away on Sunday at the age of 75 after a period of illness, leaving behind an unparalleled legacy as one of the most respected voices in the industry.
Clements joined the Guardian’s arts team in August 1993, succeeding the legendary Edward Greenfield as the paper’s chief music critic. His appointment was secured through a personal recommendation from the late Alfred Brendel, who recognised Clements’ deep understanding of contemporary music as the key to the role.
For the next 32 years, Clements’ writing for the Guardian covered the full breadth of classical music, from the most revered composers to the most daring innovators. His deep knowledge and unwavering passion for the art form were evident in every word he wrote, earning him the respect and admiration of his peers.
“Andrew Clements wrote about classical music with the utmost passion and precision,” said Katharine Viner, the Guardian’s editor-in-chief. “His reviews for the Guardian drew on a lifetime of discerning listening and, as well as being illuminating, were always a joy to read.”
Clements’ musical interests were first piqued as a young flautist in school, when he encountered a work by Pierre Boulez that opened his eyes to the world of contemporary classical music. From that moment on, his encyclopaedic knowledge of the field only grew, with the critic able to recall almost every concert he had ever attended.
In his writing, Clements was unafraid to challenge the status quo, happy to stick to his well-formed convictions and refuse to follow more conservative or orthodox views. This willingness to ruffle feathers, combined with his deep insight and incisive analysis, made his reviews essential reading for anyone with a passion for classical music.
Beyond his work as a critic, Clements was also a champion of composers whose work he believed deserved greater recognition. His championing of figures like Harrison Birtwistle, Hans Abrahamsen, Oliver Knussen and Mark-Anthony Turnage helped to ensure their work was taken seriously by other critics and the musical establishment.
“He understood how vital music was to the human soul,” said one composer in tribute. “His reviews were not just critiques, but a passionate exploration of the art form he loved.”
Even in his final years, when ill health prevented him from reviewing live events, Clements’ impact on the world of classical music criticism remained undiminished. His last CD review, published just weeks before his passing, was a testament to his enduring passion and insight.
As the classical music world mourns the loss of one of its most respected and influential voices, the legacy of Andrew Clements will continue to inspire and shape the field for years to come. He was, quite simply, a titan of his craft, whose impact on the art form he cherished will never be forgotten.