“The hardworking continuo, particularly bassist Andrew Arceci and harpsichordist Michael Beattie, responded to the singers with most sympathetic excellence.” - Susan Miron, THE BOSTON MUSICAL INTELLIGENCER (November 2019)

“Beekman chose to use two violins, two violas, three cellos, and one particularly lush voiced Italian bass violone (Andrew Arceci) playing on gut strings with smaller Baroque bows at modern pitch.” 

- Laura Stanfield Prichard, THE BOSTON MUSICAL INTELLIGENCER (October 2019)

“Just what the senses ordered.” - Barry Plaxen, THE CATSKILL CHRONICLE (August 2019)

“Hoose’s arrangement of Byrd’s Fantasia In G for harpsichord was a dark foil to the previous shimmering, featuring plaintive wordless vocals by violinist Daniel Stepner, playful call and response between him and violinist Danielle Maddon, flashes of Anne Black’s rich viola and Andrew Arceci’s firm, rounded violone at the low end.” - Andrew Sammut, Boston Classical Review (December 2018)

"The solo cello, Sarah Freiberg, and bassist, Andrew Arceci, were excellent throughout." - Susan Miron, The Arts Fuse (May 2018)

“The ‘orchestra’ consisted of six soloists, whose bass section, Alice Robbins (cello) and Andrew Arceci (double bass), provided a solid foundation here and in all the evening’s music.” - Mark Morford, Daily Hampshire Gazette (September 2016)

“The New York-based Arceci was soloist in the closer, his own ‘Suite II in G Minor’ for viola da gamba, string orchestra, and percussion (chiefly timpani, played energetically by Matt Sharrock). This was described as “Neo-Baroque,” but it is not at all in the manner of such mid-20th-century efforts. Rather the soloist tends towards traditional-sounding licks reminiscent of French Baroque music. These alternate with decidedly un-Baroque drum strokes and brooding Wagnerian unison melodic fragments from the strings.”- David Schulenberg, THE BOSTON MUSICAL INTELLIGENCER (September 2014)

“The opening Grave, with subtle nuances in Andrew Arceci’s viola da gamba and overall intricate textures, conveyed the quiet and poised joy of daily thanksgiving. The ensuing Allegro was rendered as a burst of fire tempered by Heloise Degrugillier’s spiritual recorder, conveying a zeal for life restrained by wisdom. The Dolce preached a new kind of elegance without stiffness, based on a genuine sensitivity to the worth of human politeness, articulated especially by the recorder. The concerto culminated in a final Allegro that taught confidence in the human power to integrate efforts and take pleasure in cooperation, emphasized in particular by the duet of recorder and viola da gamba.” - Leon Golub, THE BOSTON MUSICAL INTELLIGENCER (May 2014)

“...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.” - Letitia Stevens, THE BOSTON MUSICAL INTELLIGENCER (May 2014)

“Those responsible for the opulent, plush music of Michel Lambert (1610-1696), Jean-Baptiste Drouard de Bousset (1662-1725), Charles Dollé (c.1700-c.1755), and Antoine Forqueray (1671-1745) were the ensemble’s director Andrew Arceci, who played the melodies on viola da gamba while William Simms and Daniel Swenberg accompanied the gamba’s melodies on the theorbo (bass lute) and baroque guitar.

Elegance, delicacy, courtliness, dignity, nobility and gentility were the delights of the afternoon, thanks to Monsieur Marais and the aesthetically pleasing and tasteful musicians.” - Barry Plaxen, THE CATSKILL CHRONICLE (November 2013)

“Elizabeth Hungerfords Sopran ist etwas Besonderes: Er kommt ein wenig zurückgenommen daher, ist aber erfrischend ungezwungen und natürlich. Zudem erreicht Hungerford eine Weichheit im Timbre, die man bei einer so klaren Stimme eigentlich nicht zu erwarten hofft. Auch Andrew Arceci an der Viola da Gamba und John McKean am Cembalo zeigten sich willens, Hungerfords Talent herauszuarbeiten.” - Jonas Rohde, Göttinger Tageblatt (January 2013)

“Highlighting fresh material as well as fresh interpretations, L’Académie also hosted the New England premiere of composer and viola da gamba player Andrew Arceci’s Suite Two in G minor for Gamba, Strings and Percussion, with Arceci as conductor and soloist. Arceci explained that the work included some last-minute changes from the original score for a more ‘intimate’ setting. Smaller forces and midnight oil notwithstanding, the work remained emotionally powerful and cogent.

The first movement of Arceci’s suite alternated the soloist’s meditative phrases with dissonant orchestral outbursts, choreographing an internal battle between harsh memories and the will to move on. The second movement featured Arceci’s silken runs against simply placed but powerful viola harmonies, and the strident march that closed the work was voiced for violins in their lowest range. As a soloist, Arceci displayed a thick, metallic tone in the lower register with throaty, well-placed high notes. L’Académie in turn followed his cues with precision and nuance to the work’s forlorn end.” 

- Andrew Sammut, THE BOSTON MUSICAL INTELLIGENCER (February 2012)

“Andrew Arceci and John McKean — a youngish duo playing viola da gamba and harpsichord, respectively — have been building a name for themselves lately as thoughtful interpreters of historically informed early music.

The playing was detailed and beautifully balanced throughout the afternoon…” - Stephen Brookes, THE WASHINGTON POST (December 2011)

“It was a magical evening of music rarely heard live, exquisitely performed..."

"...performed with perfection by the world-class ensemble. A real treat.” - B. Plaxen, THE CATSKILL CHRONICLE (August 2011)

“Each work is packed with solo passages that displayed the considerable skills of Juilliard’s accomplished players: most notably Ms. Karr and Ms. Wenstrom; Emi Ferguson and Christopher

Matthews, the flutists; Molly Norcross and Nathanael Udell, the hornists; and Andrew Arceci, the bassist, who had extensive solos in the trio section of each work’s Menuetto.” - Allan Kozinn, THE NEW YORK TIMES (March 2011)

"The evening ended with Canzona by Elżbieta Sikora, who deploys a solo viola da gamba in a frenetic duel with the chamber orchestra. At times the piece felt like a Bach sonata being assaulted, interrupted by enormous forces-perhaps a metaphor for an ancient instrument struggling to find its place in the modern age. Andrew Arceci was heroic in the wide-ranging solo part, vividly conducted (as was the entire program) by Dr. Sachs, with unusually alert, on-point contributions from the Juilliard players.” - Bruce Hodges, SEEN AND HEARD INTERNATIONAL (January 2011)

"Andrew Arceci brought a lovely tone to the line and matched the dramatic impulses that propelled the superb ensemble playing.” - Allan Kozinn, THE NEW YORK TIMES (January 2011)