Andrew Arceci Baroque Ensemble
PLAY: The Classics
Teresa Wakim, soprano
Asako Takeuchi, baroque violin
Andrew Arceci, viola da gamba; direction
Leon Schelhase, harpsichord
John McKean, harpsichord
|Monsieur de Sainte Columbe
(fl. 17th century)
|Tout est pret, air de Roxane, from Scanderberg|
|Suite, Pieces de viole (A minor)|
|Sans frayeur dans ce bois|
|F. Francoeur||Sonate III|
|M. Charpentier||Quoi! rien ne peut vous arreter|
|M. Marais||Suite, Pieces de viole (G major)|
|Vos mepris chaque jour|
|F. Francoeur||Sonate VI|
|M. Charpentier||Ah! Qu'ils sont courts les beaux jours|
Performer, composer/arranger, and scholar, Andrew Arceci has performed throughout North America, Europe, and Asia. In Europe, he has appeared with the Orchestra of the Age of Enlightenment (UK), Oxford Baroque (UK), and Collegium Musicum Den Haag (Netherlands). In the United States, he has collaborated with the Boston Camerata, Handel & Haydn Society, Arcadia Players, Tempesta di Mare - Philadelphia Baroque Orchestra, The Folger Consort, Washington Bach Consort, Washington National Cathedral, TENET, and Harmonious Blacksmith. He has presented at musicology conferences in Portugal, the UK, and the US; and has given workshops at the University of Oxford (UK), University of Cambridge (UK), University of Edinburgh (UK), Narnia Arts Academy (Narni; Italy), Taipei National University of the Arts (Taiwan), Burapha University (Thailand), the International Baroque Institute at Longy-Bard College (US), Bloomsburg University of Pennsylvania (US), and Illinois Wesleyan University (US). Currently, he directs the Collegium Musicum at Wellesley College, as well as the Winchendon Music Festival. Recording credits include soundtrack work for the BBC (UK), and the labels Novum (UK), Deutsche Harmonia Mundi (Germany), Bôłt Records/Monotype Records (Poland), and Cedille Records (US).
"Andrew Arceci brought a lovely tone to the line and matched the dramatic impulses that propelled the superb ensemble playing." A. Kozinn, THE NEW YORK TIMES (January 2011; United States)
“...the subtle but substantial supporting bass line provided on the violone by Andrew Arceci, and the melodic commentaries of Ben Powell’s characterful and engaging violin playing, provided many delights.” L. Stevens, THE BOSTON MUSICAL INTELLIGENCER (May 2014; United States)
“Elegance, delicacy, courtliness, dignity, nobility and gentility were the delights of the afternoon, thanks to Monsieur Marais and the aesthetically pleasing and tasteful musicians.” B. Plaxen, THE CATSKILL CHRONICLE (November 2013; United States)
Praised for her “bejeweled lyric soprano" (The Boston Globe), as "a marvel of perfect intonation and pure tone" (New York Arts), and with a voice of “extraordinary suppleness and beauty” (The New York Times), soprano TERESA WAKIM was First Prize Winner of the International Soloist Competition for Early Music in Brunnenthal, Austria. Much sought-after in Europe and North America for her interpretations of concerted repertoire, she has performed under the batons of such conductors as Roger Norrington, Harry Christophers, Laurence Cummings, Martin Haselböck, Ton Koopman, and Nicholas McGegan. Noted solo engagements include Bach’s Mass in B Minor, St. John Passion, and Magnificat with the Amsterdam Baroque Orchestra, Bach’s Wedding Cantata and Mendelssohn’s Hear My Prayer with the Cleveland Orchestra, Bach's Missa Brevis with the San Francisco Symphony, Monteverdi's Vespers of 1610 with Boston Baroque, Bach's Magnificat with Wiener Akademie Orchester, Brahms' Ein Deutsches Requiem with the Omaha Symphony, Bach's Mass in B Minor with Louisiana Philharmonic, Mozart's Exsultate Jubilate with New World Symphony and the Handel & Haydn Society, Handel's Messiah with the Charlotte, San Antonio, Alabama, and Tucson Symphonies, and Orff's Carmina Burana with Boston Landmarks Orchestra. In addition she performs with many of North America's top early music ensembles, including Mercury Baroque Orchestra, Boston Early Music Festival, Apollo's Fire, Vancouver Early Music, Dallas Bach Society, Atlanta Baroque Orchestra, Tragicomedia, and Pacific Musicworks. She has portrayed and recorded multiple operas by Charpentier and Lully with the Boston Early Music Festival, including the roles of Flore, Aréthuse, and Daphne on their 2015 GRAMMY-winning recording of La Descente d'Orphée aux Enfers and La Couronne de Fleurs.
Touring extensively as a solo, chamber, and orchestral player throughout Europe, Asia, and North America, violinist Asako Takeuchi has performed with ensembles such as the Wallfisch Band (UK), Collegium Musicum Den Haag (Netherlands), Den Haag Piano Quintet (Netherlands), The Bach Choir & Orchestra of the Netherlands, Arion Baroque Orchestra (Canada), Boston Baroque (USA), and Handel & Haydn Society (USA). She has performed at numerous festivals, including Festival Oude Muziek Utrecht (Netherlands), Deutsches Mozartfest and Innsbruck Festival (Germany), Festival de Música Antigua de Barcelona (Spain), MUPA International Arts Festival (Thailand), Abbaye aux Dames (France), and Aston Magna Music Festival (USA). Discography includes recordings with The Wallfisch Band (soloist), Arion Baroque Orchestra, and The Bach Choir & Orchestra of the Netherlands. She has given workshops at Burapha University (Thailand), and holds degrees from the Royal Conservatory in the Hague (Netherlands), University of Southern California, and Berklee College of Music.
A native of Cape Town, South Africa, Leon Schelhase found himself resonating with Baroque music from an early age. His musical studies brought him to the harpsichord early on, and subsequently landed him in the United States where he has rapidly become sought after as both soloist and continuo performer. A recipient of the American Bach Soloists’ prestigious Goldberg Prize, Leon has performed with numerous ensembles including Emmanuel Music, American Bach Soloists, REBEL, New York State Baroque, and appeared with notable figures like Elizabeth Wallfisch, Julie Andrijeski and Julianne Baird. Leon holds a BMus (Hons) from the University of Cape Town, and a Master’s Degree in Historical Performance from Boston University He currently resides in Philadelphia where he has joined the faculty of the Curtis Institute of Music.
By the time John McKean first built a harpsichord at the age of 13, he had already been captivated by early keyboard instruments and the music of the Baroque for a number of years. Since that time, he has gone on to distinguish himself internationally as both a performer and scholar of historical keyboard music and performance practice. He has been critically acclaimed for his “intelligent” and “precise” playing (The Washington Post) as well as his “sonorous brilliance and thrilling, dance-like energy” (Allgäuer Zeitung). Also active as a musicologist, his playing is steeped in rich historical context and scholarly understanding; but ultimately it is his artistry and interpretive prowess that leave audiences enthralled.
McKean has performed extensively throughout Europe and North America: past concert engagements have brought him to the Concertgebouw in Amsterdam, Fondazione Cini in Venice, and the Norðurljós Hall in Reykjavík, Iceland; and he has been featured on notable concert series such as Festwochen Attersee (Austria), Festival van Vlaanderen (Bruges, Belgium), Montisi Music Festival (Tuscany, Italy), Brighton Early Music Festival (U.K.), C. P. E. Bach Festival (Berlin, Germany), Händel Festspiele (Göttingen, Germany), and the Philips Collection Series (Washington, D.C.). Frequently in demand as a continuo player, he regularly performs with numerous leading American and European early music chamber ensembles, including the Catacoustic Consort, Camerata Vocale Freiburg, and Habsburger Camerata; has appeared with the Jacksonville, Naples, Portland (Maine), and Pittsburg symphony orchestras (among others); and has performed extensively and recorded with Apollo’s Fire—the Cleveland Baroque Orchestra. He counts among his live radio broadcasts performances on NPR, BBC Radio 3, and Deutschlandradio Berlin.
McKean studied harpsichord performance with Lisa Crawford and Webb Wiggins at the Oberlin Conservatory of Music (Ohio) and with Robert Hill at the Staatliche Hochschule für Musik (Freiburg, Germany). He received additional instruction over the years from some of the greatest modern masters of historical keyboards, including Arthur Haas, Jacques Ogg, Skip Sempé, Jesper Christensen, Ketil Haugsand, Mitzi Meyerson, Richard Egarr, and Gustav Leonhardt. In the academic realm, he holds a degree in German Studies from Oberlin College as well as an M.Phil. and a Ph.D. in historical musicology from the University of Cambridge (U.K). His master’s thesis unearthed new details concerning the life and works of French harpsichord composer Gaspard Le Roux, while his doctoral dissertation examined the development of keyboard technique during the German Baroque. Beyond his musicological work and performing career, McKean also maintains an active interest in instrument building (he regularly performs on his own reconstruction of a 17th-century Flemish harpsichord), music publishing, and typography.
About PLAY: The Classics: A world-class classical concert series featuring five performances for all ages, presented in collaboration with Bethel Woods and Shandelee Music Festival. Each concert is preceded by an enjoyable introduction to the music being performed, and followed by a specialty dessert reception where you will have the opportunity to relax, see friends and make new acquaintances.
Generous support for PLAY: The Classics is made possible by a gift from The Guenther Family, Midori Yamanouchi, Ph.D., Dr. John and Nancy Farkas, and Richard and Karen Goodman.
All dates, acts, times, and ticket prices are subject to change without notice at any time. Ticket prices may increase on the day of show.