Lully famous works

Baroque opera
Music from 1600s
Le tombeau de couperin analysis

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The author

Born in Buenos Aires (Argentina) into an Italian family, Claudio Di Veroli studied under Ernesto Epstein (piano and interpretation), Erwin Leuchter (harmony and continuo), Ljerko Spiller (chamber music) and other internationally renowned musicians. As a performer Di Veroli won several Argentine musical competitions and played extensively in public recitals. With a degree in Mathematics, he moved to England where he pursued research in Statistics at Imperial College London, studying under the supervision of Prof. Sir David R. Cox. He simultaneously continued his musical training, studying the harpsichord under Colin Tilney in London and Hubert Bédard in Paris.

For some years 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).

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Supporting Your Piano Pathway
Written by ANDREW EALES

At a recent piano recital, I started with the very beautiful Chaconne in F major by the early French Baroque composer Louis Couperin (1626-61), uncle of the better known François Couperin “Le Grand” (1668-1731).

For most who were in the audience, it will have been their first encounter with the music of Louis Couperin, and even those with an interest in the early French Baroque will perhaps never have heard this music performed on a modern piano before – it was written for the harpsichord (or clavecin as the French knew it) and while later Baroque music (for example the keyboard works of J.S.Bach and Domenico Scarlatti) has found its way into the piano repertoire, earlier Baroque keyboard music is rarely heard outside of specialist “Early Music” circles.

Discovering Louis Couperin

For my own part, during my student days I became enamoured with the harpsichord and other early keyboard instruments – and the music of Louis Couperin played a particular role in my own conversion to “early music” buff