On August 5th at 7:30 PM, I will play a concert of works from my debut recording of music for clarinet and electronics in my hometown of South Haven, MI! It’s something I’ve been waiting to do since the album’s release in 2019, but with the pandemic, I had to put this on hold.

The details: 

Date: August 5, 2022

Time: 7:30 PM

Location: First United Methodist Church in South Haven, MI (429 Michigan Ave; South Haven, MI)Price: Free

I am excited about this concert and look forward to sharing this music with so many people who have been important to me. The music on this record is really diverse, but centered around my love of experimenting with musical colors and textures. You can read more about my project at the two links below. 

The label page for the recording which has album info and track notes: https://www.ravellorecords.com/artists/andrea-cheeseman/

A short interview about the project and my influences: https://www.ravellorecords.com/news/the-inside-story-andrea-cheeseman-and-somewhere/

In November, I was selected as a co-winner of the International Alliance for Women in Music Programming Award. It’s gratifying to be recognized for my consistent inclusion of music written by women on my concert programs. I share this award with the Wisconsin Chamber Choir. Let’s all program more music by women and other underrepresented communities. It’s so easy (and important).

Growing up, I was surrounded by my mother’s abstract watercolors. How could they not influence my aesthetic and performance? The South Haven Center for the Arts interviewed my mother and wrote this nice article: Celebrating our Members: Diane Lynne Cheeseman.

The call for EMM has been posted!

I spent the last few weeks recording pieces to be included in the Great Lakes Regional College Music Society virtual conference in April. There always going to be issues with creating live recordings. Wrong notes, water under keys, early or late foot pedal triggers, etc. I am not afraid to admit that on the recordings I made, they are all there. Annoying to me? Yes. 

Also present were sounds of my dog tossing on her bed, rain, birds tapping on the metal windowsill, trucks driving by (and seemingly doing loops in the neighborhood) and artillery practice at Fort Jackson. Do I wish these things didn’t occur? Yes. 

I could have done a lot more takes to make sure my playing was perfect and there was complete silence in the house. Would that have created a better recording? Most likely. However, I feel it more accurately represents me and my environment to include these ‘errors’. I am human after all. 

I’ve heard many recordings where the playing and production are perfect. There is something nice about that. However, to me, it is usually just that. Nice. They don’t contain much passion or personality. When I am listening to a piece, whether it is a live performance or a recording, I want to connect to the composer/performer and to be drawn into the performance. I want to be invited to participate in the work emotionally. Sterile recordings or performances don’t do that for me. 

And so, in these recordings for CMS, as well as in all that I do, I want to create performances that are personally meaningful for audience members. Performances that reflect where I am emotionally. Performances that despite a few flaws are well done and honest.