Renowned music critic Andrew Clements has left an indelible mark on the world of classical music, leaving behind a legacy of incisive reviews and unwavering dedication to the art form. For over three decades, his authority and insight were cornerstones of The Guardian's classical music coverage, earning him widespread respect among critics and musicians alike.
What set Clements apart from his peers was his rare ability to distill complex musical experiences into clear, concise language that conveyed the essence of a performance. His passion for new music was evident in his tireless devotion to championing emerging artists, often taking risks on lesser-known composers that paid off with remarkable rewards.
Clements' eclectic interests extended far beyond classical music, however. A natural history enthusiast and Latin American literature aficionado, he seamlessly integrated these passions into his reviews, bringing a depth and nuance to his writing. His sharp wit and dry humor, though occasionally gruff, added a welcome layer of humanity to his critiques.
Born in Gloucester, Clements' musical awakening occurred at an early age, sparked by the works of English pastoralist composers from the mid-20th century. This love affair with classical music was cemented through his university days, playing flute in the Cambridge orchestra and later becoming a key figure at the Cheltenham music festival.
Throughout his illustrious career, Clements' dedication to regional coverage remained unwavering, earning him recognition as an early champion of local talent. He also made significant contributions to various publishing ventures, including Faber & Faber's book on music series and Opera magazine, where he began writing in 1983.
One notable anecdote highlights Clements' unique blend of wit and acumen: upon witnessing a poorly realized production at Glyndebourne in 2008, he wryly observed that the opera failed to evoke a sense of place, despite lavish use of video projections. This example illustrates his willingness to speak truth to power, even when it meant poking fun at himself or others.
Awards and accolades notwithstanding, Clements' enduring reputation as one of the most respected music critics of his generation stems from his unwavering commitment to critical integrity, intellectual curiosity, and a deep love for music.
What set Clements apart from his peers was his rare ability to distill complex musical experiences into clear, concise language that conveyed the essence of a performance. His passion for new music was evident in his tireless devotion to championing emerging artists, often taking risks on lesser-known composers that paid off with remarkable rewards.
Clements' eclectic interests extended far beyond classical music, however. A natural history enthusiast and Latin American literature aficionado, he seamlessly integrated these passions into his reviews, bringing a depth and nuance to his writing. His sharp wit and dry humor, though occasionally gruff, added a welcome layer of humanity to his critiques.
Born in Gloucester, Clements' musical awakening occurred at an early age, sparked by the works of English pastoralist composers from the mid-20th century. This love affair with classical music was cemented through his university days, playing flute in the Cambridge orchestra and later becoming a key figure at the Cheltenham music festival.
Throughout his illustrious career, Clements' dedication to regional coverage remained unwavering, earning him recognition as an early champion of local talent. He also made significant contributions to various publishing ventures, including Faber & Faber's book on music series and Opera magazine, where he began writing in 1983.
One notable anecdote highlights Clements' unique blend of wit and acumen: upon witnessing a poorly realized production at Glyndebourne in 2008, he wryly observed that the opera failed to evoke a sense of place, despite lavish use of video projections. This example illustrates his willingness to speak truth to power, even when it meant poking fun at himself or others.
Awards and accolades notwithstanding, Clements' enduring reputation as one of the most respected music critics of his generation stems from his unwavering commitment to critical integrity, intellectual curiosity, and a deep love for music.
I'm so sad to hear that Andrew Clements is leaving us, but what an amazing legacy he's left behind 
! His reviews were always like a breath of fresh air - so insightful and beautifully written 
. I loved how he could take complex music and break it down into something simple yet profound 
. And his passion for new music was infectious 
! It's no wonder he championed emerging artists and gave them a platform to shine 
. His writing was like a warm hug - witty, dry, and full of humor 
. I'll miss him, but I know his words will live on and inspire future generations of music lovers 
. RIP Andrew, you'll be deeply missed 
. I mean, have you heard him review any of that new-agey stuff? It was like he had this radar for spotting hidden gems and introducing them to the masses 
. But what really gets me is his passion for storytelling - he wasn't just writing reviews, he was painting a picture with words 
. The way he blended music with other interests like nature and literature? Genius! You could tell he was genuinely enthusiastic about everything he wrote about 
. I'm so grateful to have had the chance to read his reviews, especially during my uni days when I was all about classical music 
, but his legacy lives on. I mean, think about it, what makes a critic truly great isn't just their opinion, but the way they make you see things in a new light. And that's exactly what Andrew Clements did with his writing - he had this unique ability to capture the essence of music in a way that resonated with everyone who read him.
. He had this incredible breadth of knowledge and interests that made his reviews so engaging. And who can forget that infamous Glyndebourne incident? Only a true master of wit could make fun of himself like that.
. His writing was never stuffy or pretentious; he had this amazing ability to break down those big musical ideas into tiny, digestible bits 
. What I love about him is how he could break down complex music into simple, yet super insightful language - it's like he had a PhD in music criticism 
! 
. Plus, his love for Latin American literature and natural history added this whole other layer of depth to his reviews - it's like he was a Renaissance man! 
. And that quote about Glyndebourne? Classic Clements - sharp wit and honest feedback 
!
I think Andrew Clements was actually 85 last year, not that he's been leaving us since over three decades ago 
. I mean, who else could make opera sound relatable? 
He'll be deeply missed, but his legacy will live on through all the amazing music and writers he helped shape into what they are today 
... wait, no, scratch that, I'm also really bummed that the world won't have his insightful reviews anymore 
.
.
he's got that special touch where he can break down these complex classical pieces into something super relatable & easy to get on board with 
it shows he's really got a curious mind & isn't afraid to explore new interests 
... i mean, it's awesome that Andrew Clements left such an indelible mark on classical music, but isn't it interesting how his reviews always seemed to favor established artists over up-and-comers? 
another music legend bites the dust 
. sad to see someone with so much knowledge and passion leave us too soon 
anyway read it now and clements seems super interesting his ability to break down complex music into simple terms is actually pretty genius lol who knew criticism could be so cool? 
️ (Albert Einstein)
. like, how many ppl can say they got articles published by faber & faber on music & then still found time to geek out over latin america 
? anyway, his approach to reviewing music always felt different - not just about praising the good stuff, but also calling out when it was off