Major Publications

Cambridge Haydn Encyclopedia

Cambridge University Press, 2019

A richly illustrated encyclopedia offering new perspectives on Haydn, the many cultural contexts within which he thrived during the Enlightenment, and his enduring legacy. Similar to a handbook, the volume offers a scholarly overview and synthesis of current knowledge for the “info at your finger-tips” generation. The volume consists of over eighty entries and seven longer, conceptual essays: Biography and Identity, Ideas, Institutions, Musical Materials, People and Networks, Performance, and Place.

Read more about this book

Edited by Caryl Clark, University of Toronto and Sarah Day-O’Connell, Skidmore College, New York

 “This is a fascinating, wide-ranging volume written by leading Haydn scholars from around the world. The simultaneously substantive and incisive essays, a pleasure to read as they enlighten at every turn, ably reflect and build on recent Haydn scholarship. In short, The Cambridge Haydn Encyclopedia is essential reading for all musicians – performers, listeners, scholars, critics – experienced and inexperienced alike, who want better to understand and appreciate Haydn and his remarkable musical achievements.”
~ Simon P. Keefe, J.R. Hoyle Chair in Music at the University of Sheffield, and author of Mozart in Vienna: the Final Decade (2017)

From the Preface

Over the four years that this encyclopedia was in development, we had many conversations with contributors and colleagues about its somewhat unconventional approach. No entries on works, individuals, or genres, we’d explain.

After all, we already have the excellent Oxford Composer Companion: Haydn (ed. David Wyn Jones) and Das Haydn-Lexikon (ed. Armin Raab, Christine Siegert, and Wolfram Steinbeck) – both of which continue to ably serve the reference needs of Haydn scholars, performers, and listeners. Instead, our volume would be organized around clusters of ideas. Cross-references would lead readers from one entry to another, allowing them to see the connections but also the variety of perspectives and methods that exist within Haydn studies today.

Time and again, these conversations would lead to comparisons with eighteenth-century encyclopedia-writing. … Diderot wrote, an encyclopedia can “throw off the yoke of authority” only when compiled by a loose association of experts. While any number of the circumstances may be different, his dictum remains true. It has been an incredible privilege to work with our association of experts (including each other!), from whom we have learned so much. But we will have to continue to aspire to Diderot’s definition of an editor: “neither a genius nor an imbecile, but someone gifted with great common sense, celebrated for the breadth of [her] knowledge, the elevation of [her] sentiment and of [her] ideas and [her] love of [her] work: a [woman] loved and respected for [her] character in private and in public; never zealous, if not for truth, for virtue, and for humanity.

Haydn’s Jews: Representation and Reception on the Operatic Stage

Cambridge University Press, 2009;
Paperback & e-book 2012.  

Publication subvention from the Otto Kinkeldey Publication Endowment Fund of the American Musicological Society.

“A significant contribution to scholarship on the composer and his time.” Notes 67/1 (Sept. 2010), 114-16.

“A bold first step to shedding light on this obscure area of Haydn’s life and work.” Cambridge Opera Journal 22/1 (2011), 109-114.

“Intersects with new lines of critical and cultural inquiry in opera studies and musicology as a whole, [adding] to the growing literature on Jewish representation and identity.” Eighteenth-Century Music 9/1 (2012), 121-23.   

Cambridge Companion to Haydn

Cambridge University Press, 2005

Editor, commissioning editor, and author; 17 chapters divided into 4 sections – Haydn in Context, Stylistic and Interpretive Contexts, Genres, Performance and Reception; over 4000 copies sold to date.