The world of classical music has lost one of its sharpest ears and most eloquent voices. Andrew Clements, the Chief Music Critic of The Guardian for over three decades, died on Sunday at the age of 75 following a period of illness. His passing marks the end of an era for British arts journalism, silencing a critic known for his encyclopedic knowledge, rigorous standards, and unwavering championing of contemporary composers.

Clements joined The Guardian in 1993, succeeding the legendary Edward Greenfield. His appointment was famously endorsed by the pianist Alfred Brendel, who recognized Clements' unique ability to deconstruct complex modern scores with the same clarity he applied to Mozart. For 32 years, his byline was a stamp of authority; a five-star review from Clements was a career-defining accolade for any conductor or soloist.

A Champion of the Modern

While deeply versed in the canon of Beethoven and Brahms, Clements’ true passion lay in the avant-garde. He was a tireless advocate for composers like Harrison Birtwistle, Pierre Boulez, and Oliver Knussen—figures whose music is often dismissed as "difficult" by lesser critics. Clements had the rare gift of explaining why a dissonant chord mattered, bridging the gap between the composer's mind and the listener's ear.

• The Physicist Critic: Unusually for an arts writer, Clements held a degree in theoretical physics from Cambridge. This scientific background perhaps explained his analytical precision; he dismantled musical structures with the logic of a mathematician and the soul of a poet.
• The Final Review: Though ill health kept him from live concert halls in his final months, he continued to write. His last CD review, published on January 2, 2026, was characteristic of his style—lucid, fair, and deeply informed. It stands now as a poignant farewell note.
• Beyond the Notes: Colleagues remember him not just as a critic, but as a polymath with a passion for ornithology. He could identify a bird call with the same accuracy he could identify a wrong note in a Mahler symphony.

The Void Left Behind

Tributes have poured in from across the globe. The Royal Opera House described him as "a critical giant," while Sir Simon Rattle called him "the conscience of our industry." In an age of hot takes and influencer culture, Clements represented the old guard of criticism: slow, thoughtful, and incorruptible.

His death leaves a silence in the pages of The Guardian that will be deafening for those who looked to him to make sense of the noise.