The Guardian's esteemed chief classical music critic, Andrew Clements, has died at the age of 75 following a period of ill health. For more than three decades, Clements was a defining voice in music criticism, admired for his authoritative, intelligent, and fearlessly honest writing.
A critic of rare integrity and wide-ranging passions
Clements's style was a model of critical integrity. He possessed the rare skill of translating the sound of a performance into precise, evocative prose, allowing readers to understand exactly what they had missed. While he was best known as a tireless champion of contemporary and often challenging composers—including Harrison Birtwistle, Pierre Boulez, and Iannis Xenakis—his musical tastes were remarkably broad.
His passions extended far beyond the concert hall. A dedicated naturalist and aficionado of Latin American literature, these interests famously converged in a 2008 review of an opera based on Gabriel García Márquez, where he pointed out the director's erroneous use of chameleons, noting "there are no chameleons in South America."
From physics student to foremost music writer
Born on 15 September 1950 in Hucclecote, Gloucestershire, Clements was the first in his family to attend university, studying theoretical physics at Cambridge. After a brief stint at the Open University, where he met his future wife Kate, he embarked on a lifelong career in music journalism.
He served as music critic for the New Statesman for 11 years from 1977, wrote for the Financial Times as both a classical and rock critic, and had a spell as editor of the Musical Times. He joined the Guardian in August 1993, succeeding Edward Greenfield, a move reportedly endorsed by the pianist Alfred Brendel.
An enduring legacy from Elgar to The Beach Boys
Clements maintained a deep connection to his roots, covering regional music scenes with a commitment rare among London-based critics. He held a fondness for English pastoral composers and Elgar's Dream of Gerontius. Yet his critical ear appreciated genius in all its forms. In a Guardian review, he made the memorable assertion that Brian Wilson's God Only Knows was "the most perfect pop song."
His final years were marked by dedicated work despite illness. His last concert review appeared in early March 2025, and his final published piece, on Nadia Boulanger's opera La Ville Morte, was written just before Christmas. He died on 11 January 2026 after contracting flu.
Andrew Clements is survived by his former wife Kate, his daughters Lara and Holly, and two grandchildren. His sharp wit, encyclopaedic knowledge, and unwavering critical standards leave an indelible mark on musical discourse in the UK and beyond.
