Italian, born in Buenos Aires, Argentina, 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 70's he studied the harpsichord with 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's Musée Instrumental (now Musée de la Musique). With a PhD in Mathematical Statistics from Imperial College London, he 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.
Having adopted early tuning systems, he has been the first harpsichordist to use Baroque fingerings throughout his public performances. Di Veroli has carried out extensive research in the interpretation of French Baroque music, historical keyboard fingerings and unequal temperaments, often applying advanced scientific and computer tools. His writings have been endorsed in writing by leading musicians and musicologists such as Gustav Leonhardt (see his letter on the right), Igor Kipnis, John Barnes, Patrizio Barbieri and others. They include four favourably-reviewed books (on tuning and temperament, baroque keyboard technique and baroque keyboard interpretation), three editions of harpsichord music with baroque fingerings, and many published papers, most recently in Harpsichord & fortepiano (UK).
Considered a leading harpsichordist and specialist in Baroque interpretation in South America, he 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 masterclasses in Uruguay, Argentina, Italy and Ireland.
As a soloist—mostly on the harpsichord but also on the organ—Di Veroli has performed extensively in all types of venues: concert halls, churches, radio and TV, both solo and with ensembles, with very favourable reviews in leading newspapers. His last public performance before leaving Argentina was the final recital of the 2000 season at the Baroque Organ in Buenos Aires Cathedral. In 2001 Di Veroli moved to Ireland, where he is musical director of Bray Baroque. His most recent recitals have been on his French two-manual Hubbard harpsichord based on Taskin. Since 2014 he is also active in Lucca, Tuscany, Italy.
(in reverse chronological order: links are included for all the articles available online)
“Accurate meantone tuning based on Fogliano“ in Harpsichord & fortepiano, Vol. 23, no. 1, pp. 16-20, UK 2018.
“A measured approach to J.S. Bach's Stylus Phantasticus” in Harpsichord & fortepiano, Vol. 21, no.2, pp. 17-26, UK 2017.
“A concise account of historical harpsichord ranges” in NEMA (National Early Music Association UK) Newsletter Vol. i/1, Univ. of Cambridge UK 2017.
“L'Art de Toucher le Clavecin e l'interpretazione filologica” (L'Art de Toucher le Clavecin and authentic interpretation) in La Sala del Cembalo, Rome 2016.
“A harpsichordist's reappraisal of Haney's Harpsichord magazine” in La Sala del Cembalo, Rome 2016.
“Clavicembali Espressivi” (Expressive Harpsichords) in La Sala del Cembalo, Rome 2016.
“Taskin Harpsichord Scalings and Stringings Revisited” in a webpage, Bray, Ireland 2011.
“Cembalo: Decadenza e Rinascita” (Harpsichord: Decadence and Revival) in La Sala del Cembalo, Rome 2011.
“Vallotti as the Ideal German Good Temperament” in Harpsichord & fortepiano, Vol. 15, no. 1, pp. 9-14. UK 2010. An Italian translation is available as “Vallotti come il Buon Temperamento Ideale” in Academia.
“Disposición original del órgano colonial de la Catedral Metropolitana de Buenos Aires” in Música e Investigación, Revista del Instituto Nacional de Musicología Carlos Vega, Año 4 Numero 7-8, Buenos Aires 2001. An English translation is available as “The original specification of the colonial organ in the Metropolitan Cathedral of Buenos Aires” in Academia.
“Base de Datos de Organos de la República Argentina” (Database of the Pipe Organs in Argentina) in VI Encuentro Latinoamericano de Organistas y Organeros, Buenos Aires 1998.
“Did Couperin ever play a trill before the beat?” in Harpsichord & fortepiano, Vol. 6, no. 1, pp. 20-22. UK 1997. An Italian translation is available as “Ha mai Couperin suonato un trillo prima del battere?” in Academia. (3)
“El Temperamento Musical Ayer y Hoy” (Musical Temperament, Past and Present) in Boletín de Música Antigua I/1 pp. 3-8, I/2 pp. 3-7 and I/3 pp. 3-8, Collegium Musicum, Buenos Aires 1996. An Italian translation is available as “Il Temperamento Musicale Ieri e Oggi” in Academia.
“Un temperamento francés de 1690: eslabón perdido entre la entonación media y el temperamento circular francés del siglo 18” (A French temperament of 1690: a link between meantone and 18th Century's French circular temperaments) in Segundas Jornadas Argentinas de Musicología, Buenos Aires 1985. (1)
“Bach no fue clavicordista ni pianista” (Bach was neither a clavichordist nor a pianist) in Mediante IV/7 pp. 4-7. Conservatorio Nacional Superior de Música, Buenos Aires 1985. (3)
“Esperienze nella ricerca, uso ed insegmanento di diteggiature antiche sul clavicembalo” (Experiences in research, use and teaching of early fingerings on the harpsichord), in the Riunione Il Liuto e la Musica Antica, Buenos Aires 1984. (2)
“Interpretación de Tresillos y Dosillos en la Música de J. S. Bach” (Performing Triplets and Duplets in the music of J.S. Bach) in Primeras Jornadas Argentinas de Musicología, Buenos Aires 1984. (3)
“El Clave: Historia y Resurgimiento” (The Harpsichord: History and Revival) in FICTA I/1, pp. 41-61. Buenos Aires 1976. (3)
(1), (2), (3): This article was later fully revised and updated, and is now part of a book:
(1) Unequal Temperaments: Theory, History and Practice, 3rd ed., 2013.
(2) Baroque Keyboard Fingering: a Method, 7th ed., 2016.
(3) Playing the Baroque Harpsichord, 2nd ed., 2014.