Claudio Di Veroli
| Claudio Di Veroli | |
|---|---|
| Born |
1946 (age 69–70) Buenos Aires, Argentina |
Claudio Di Veroli (born 1946) is an Italian-Argentinian harpsichordist who has written four books on baroque performance practice. Born in Buenos Aires, Argentina, he was raised in an Italian family and attended Italian primary and secondary school. He studied privately in Buenos Aires under Ernesto Epstein (piano and interpretation), Erwin Leuchter (harmony) and Ljerko Spiller (chamber music), obtained a degree in Mathematics from the University of Buenos Aires and a PhD in Statistics from Imperial College, London. Living in Europe in the early 70's he studied harpsichord with Colin Tilney in London and Hubert Bédard in Paris.
He then returned to Buenos Aires, where he pioneered the performance of Baroque music based on ancient practices.[1] He was Professor of Harpsichord and examiner of the Organ course at the Conservatorio Nacional in Buenos Aires. He has lived in Ireland since 2001. He recently offered a masterclass in his adopted city of Bray, Ireland.[2] As a soloist he has performed extensively in concert halls, churches and television, both solo and with ensembles.[3] In 1984, a reviewer observed that he, "did not miss any detail in order to complete the historical legitimacy of his performance, and also produced a logical, live expressivness".[4] A year later, the same reviewer noted his "virtuosity in the formidable 'Cadenza' of the Fifth Brandenburg Concerto", a performance which was the world's first contemporary one with Baroque fingerings.[5]
He is the author of four books as well as many papers.[6][7] Favourable reviews have appeared in Stimulus,[8] Early Music America[9] and the British Clavichord Society Newsletter.[10][11][12]).
Major Works
- Unequal Temperaments and their Role in the Performance of Early Music (1978).
- Baroque Keyboard Fingering: a Method (2008).
- Unequal Temperaments: Theory, History and Practice (2009).
- Playing the Baroque Harpsichord: essays on the instrument, interpretation and performance, with relevant topics for the clavichord and organ (2010).
- Baroque Keyboard Masterpieces Fingered with Baroque Technique (2011).
References
- ↑ Juarez, Miguel (January 1994). CLASICA. p. 55. Missing or empty
|title=(help) - ↑ "Harpsichord workshop treat for music lovers". Bray People. June 29, 2011. Retrieved June 17, 2012.
- ↑ Di Veroli, Claudio. "List of Public Performances". Bray Baroque. Retrieved 6 July 2014.
- ↑ Camps, Pompeyo (June 26, 1984). Clarín. Missing or empty
|title=(help) - ↑ Camps, Pompeyo (March 27, 1985). Clarín. Missing or empty
|title=(help) - ↑ Di Veroli, Claudio (Autumn 2010). "Vallotti as the Ideal German Good Temperament" (PDF). Harpsichord & Fortepiano. Worcestershire, UK. 14 (2): 9–13.
- ↑ Di Veroli, Claudio (Spring 2000). "Inégalité and Rameau's Concerts: a case of 'Ille dixit'?". Harpsichord & Fortepiano. Lincoln, UK. 8 (2): 28–34.
- ↑ Rasch, Rudolf A. (1980). "Owen Jorgensen: Tuning the historical temperaments by ear (1977) and Cl. Di Veroli: Unequal Temperaments and their role in the performance of early music (1978)". Stimulus, The Ancient Music Journal of the University of Utrecht: 32–37.
- ↑ Persone, Pedro (March 2010). "Review of "Unequal Temperaments: Theory, History and Practice"". Early Music America: 2.
- ↑ van Delft, Menno (June 2009). "Review of "Baroque Keyboard Fingering: A Method"". The British Clavichord Society Newsletter. 44: 15–17.
- ↑ Hitchin, David (October 2009). "Review of "Unequal Temperaments: Theory, History and Practice"". The British Clavichord Society Newsletter (45): 18–21.
- ↑ Cave, Penelope (February 2011). "Review of "Playing the Baroque Harpsichord: essays on interpretation and performance, with relevant topics for the Clavichord and Organ"". The British Clavichord Society Newsletter (49).
External links
- Claudio Di Veroli - Personal website