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The Argentinean-born Italian harpsichordist (also organist, pianist, fortepianist), Claudio Di Veroli, received his training from a distinguished group of European musicians: Ernst Epstein (piano and interpretation), Erwin Leuchter (harmony) and Ljerko Spiller (chamber music). Living in Europe in the early 1970's he was strongly influenced by his teachers Colin Tilney in London and Hubert Bédard in Paris. He was granted access and practised extensively on the antique keyboards in the Fenton House (London) and the Paris Conservatoire Musée Instrumental (now Musée de la Musique).
With a PhD in Statistics from Imperial College London Claudio Di Veroli went back to Buenos Aires, where he was founder member of the Telemann Chamber Group and pioneered the performance of Baroque music based on ancient practices. He has carried out extensive research in French Baroque interpretation, ancient keyboard fingerings and unequal temperaments, often applying advanced scientific and computer tools. His writings have been endorsed by leading musicians such as Gustav Leonhardt, Igor Kipnis and John Barnes. They include four books - two on tuning and temperament, one on baroque keyboard technique and a recent one on Baroque keyboard interpretation - and 41 papers, many of them published, most recently in Harpsichord & fortepiano (UK). A recent book by him, where the interpretation of Bach features prominently, has received a very favourable review.
Considered a leading harpsichordist and specialist in Baroque interpretation in South America, Claudio Di Veroli has been Professor of Harpsichord and examiner of the Organ course at the Conservatorio Nacional in Buenos Aires. Recent teaching practices include short courses and master-classes in Montevideo, Buenos Aires and the Conservatorio Statale in Turin, Italy.
As a soloist - mostly on the harpsichord but also on the organ - Claudio Di Veroli has performed extensively in venues ranging from small to very large: concert halls, churches, radio and TV, both solo and with ensembles, with very favourable reviews in leading newspapers. In 1985, showed, for the first time in public performances, he showed that Bach concertos for orchestra can all be played with old fingerings: this was with different harpsichords (copies of Taskin and Ruckers) in Buenos Aires, culminating with the 5th Brandenburg Concerto in a performance to commemorate Bach's 300 years in the German Embassy in Argentina. Shortly afterwards he played a Bach-Handel-Scarlatti Tercentenary solo harpsichord recital to an audience of over 1,000. His last public performance before leaving Argentina was the final recital of the 2000 season at the Baroque Organ in Buenos Aires Cathedral. Now living in Bray, just south of Dublin, Ireland, his most recent recitals have been on his French double-keyboard Hubbard harpsichord based on Taskin, and on the neo-Baroque tracker organ built by K. Jones in 1984 in the Holy Redeemer Church. He is at present director of Bray Baroque, a new musical centre. |
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Fenton House, London, 1971 [01] |
Fenton House, Hampstead, London, 1968-1971 [05] |
Paris Conservatoire, 1976 [02] |
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Bolsa Comercio - GrupoTelemann, May 1983 [04] |
Buenos Aires Cathedral, 2000 [03] |
The Mermaid, The Wicklow's Arts Centre in Bray, Ireland, 2003 [06] |
