Claudio Di Veroli

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Claudio Di Veroli
Born1946 (age 76–77)
Buenos Aires, Argentina
Nationality
  • Argentina
  • Italy

Claudio Di Veroli (born 1946) is an Argentine-Italian harpsichordist who has written several books and papers 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  [ de ] (piano and interpretation), Erwin Leuchter  [ de ] (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, [1] under the supervision of Prof. Sir David Cox (statistician). [2] Living in Europe in the early 70's he studied harpsichord with Colin Tilney in London and Hubert Bédard  [ fr ] in Paris.

Contents

He then returned to Buenos Aires, where he pioneered the performance of Baroque music based on ancient practices. [3] He was Professor of Harpsichord and examiner of the Organ course at the Conservatorio Nacional in Buenos Aires. As a soloist he has performed extensively in concert halls, churches and television, both solo and with ensembles. [4] After a harpsichord recital 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". [5] After another concert 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. [6] He has lived since 2001 in Ireland, where he has offered recitals and masterclasses on the interpretation of Baroque keyboard music. [7] He is also musically active in Italy. [8] [9]

Di Veroli is the author of several books and papers. [10] [11] Favourable reviews have appeared in Stimulus, [12] Early Music America [13] and the British Clavichord Society Newsletter. [14] [15] [16]

Major works

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References

  1. ↑ "J. Claudio Di Veroli". Mathematics Genealogy Project. Retrieved April 2, 2018.
  2. ↑ Veroli, J. C. Di (March 1, 1974). "Optimal Continuous Policies for Repair and Replacement". Operational Research Quarterly. 25 (1): 89–97. doi:10.2307/3007778. JSTOR   3007778 . Retrieved May 1, 2018.
  3. ↑ Juarez, Miguel (January 1994). "Instrumentos originales en la Argentina". Clasica. Buenos Aires, Argentina. 3 (1): 55.
  4. ↑ Di Veroli, Claudio. "List of Public Performances". Bray Baroque. Bray, Rep. Ireland. Retrieved 6 July 2014.
  5. ↑ Camps, Pompeyo (June 26, 1984). "Fascinante experiencia en el Museo Larreta". Clarín. Buenos Aires, Argentina.
  6. ↑ Camps, Pompeyo (March 27, 1985). "Los Solistas Bach tocaron su homenaje". Clarín. Buenos Aires, Argentina.
  7. ↑ "Harpsichord workshop treat for music lovers". Bray People. Bray, Rep. Ireland. June 29, 2011. Retrieved June 17, 2012.
  8. ↑ "Claudio Di Veroli Plays Couperin in Lucca, Italy". Lucca Musica. December 4, 2016. Retrieved April 2, 2018.
  9. ↑ "Masterclass and Recital in Pescara, Italy". Massimo Salcito Facebook page. November 2, 2017. Retrieved April 2, 2018.
  10. ↑ Di Veroli, Claudio (Autumn 2010). "Vallotti as the Ideal German Good Temperament" (PDF). Harpsichord & Fortepiano. Worcestershire, UK. 14 (2): 9–13. Archived from the original (PDF) on 2014-07-14. Retrieved 2014-07-06.
  11. ↑ Di Veroli, Claudio (Spring 2000). "Inégalité and Rameau's Concerts: a case of 'Ille dixit'?". Harpsichord & Fortepiano. Lincoln, UK. 8 (2): 28–34.
  12. ↑ 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 (1980): 32–37.
  13. ↑ Persone, Pedro (March 2010). "Review of "Unequal Temperaments: Theory, History and Practice"". Early Music America: 2. Archived from the original on 2014-07-09. Retrieved 2014-07-06.
  14. ↑ van Delft, Menno (June 2009). "Review of "Baroque Keyboard Fingering: A Method"". The British Clavichord Society Newsletter. 44: 15–17.
  15. ↑ Hitchin, David (October 2009). "Review of "Unequal Temperaments: Theory, History and Practice"". The British Clavichord Society Newsletter. 45: 18–21.
  16. ↑ 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: 18–22.
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