In the week that we mourn the death of the Guardian’s long-serving classical music critic, composers, performers, colleagues and others who knew and worked with him pay tribute to a writer whose passi...

In the week that we mourn the death of the Guardian’s long-serving classical music critic, composers, performers, colleagues and others who knew and worked with him pay tribute to a writer whose passi...

In the week that we mourn the death of the Guardian’s long-serving classical music critic, composers, performers, colleagues and others who knew and worked with him pay tribute to a writer whose passi...

Night and dreams

Between the winter of 1950–51, when he began mapping out a series of “Projections” in squares on graph paper, and the attenuating final breath of “Piano, Violin, Viola, Cello” in 1987, there were fewe...

An outstanding critical voice, his deep knowledge and love of music was evident in everything he wrote The Guardian’s long-serving and much admired classical music critic Andrew Clements died on Sunday aged 75 after a period of illness. Clements joined the Guardian arts team in August 1993, succeeding Edward Greenfield as the paper’s chief music critic. His appointment was clinched by a personal recommendation to the editor from the late Alfred Brendel, who argued for Clements to get the job on account of his deep understanding of contemporary music. For the next 32 years, Clements ranged across all fields of classical music in his writing for the Guardian, and often beyond. Continue reading...

Between the winter of 1950–51, when he began mapping out a series of “Projections” in squares on graph paper, and the attenuating final breath of “Piano, Violin, Viola, Cello” in 1987, there were fewe...

Analysis/critique

Beginning/continuing, place/language, tree/mobile, bigness/detail

The site-specific performance of the once controversial poem was planned for its 40th anniversary in October, but will now double as a tribute to the writer who died last week

Harrison, who has died aged 88, wrote copiously for the stage, both as an ingenious translator and dazzlingly original dramatist