Michael Cooke

In crafting music that speaks from the heart, I often reflect on the words of Wolfgang Amadeus Mozart. In a letter to his father dated November 8, 1777, Mozart wrote:

I cannot write poetically, for I am no poet.
I cannot artfully arrange my phrases so as to give light and shade.
Neither am I a painter;
Nor can I even express my thoughts by gesture and pantomime, for I am no dancer.
But I can do so in sounds.
I am a musician.

This profound declaration inspired me to create a collection of pieces I call Love Letters. Each piece is a musical expression lasting approximately 3-5 minutes, dedicated to someone dear to me. These compositions are my way of conveying emotions and memories that words alone cannot capture.

A Love Letter: To the Lady I’m with 20 Years is a tribute to my wife, commemorating our 20th wedding anniversary. The inspiration for this piece stemmed from our unforgettable journey through Turkey and Greece. Composed in binary form, the piece is thoughtfully divided into two distinct sections:

• Section A: The Essence of Turkey The ‘A’ section embodies the rich cultural tapestry of Turkey, reflecting its land and air. To develop this section, I immersed myself in Turkish music, exploring its unique modes and intricate rhythmic patterns. Two traditional Turkish melodies served as particular inspirations. While Turkish modes often incorporate microtones, I sought to evoke their distinctive flavor by incorporating Bb and C# within a melody centered in A major. This melodic framework is harmonized using the Western-style D harmonic minor, creating a bridge between Eastern and Western musical sensibilities.
  
• Section B: The Serenity of Greece Transitioning to the ‘B’ section, the composition captures the serene beauty of the Greek sea and its islands. I drew upon ancient Greek melodies, including one that resonated deeply from my college studies. This section is set in E minor and utilizes plagal cadences (IV-I) to convey a sense of resolution and tranquility. Additionally, the incorporation of whole-tone scales introduces a shimmering, fluid quality, reminiscent of the gentle waves and the timeless allure of the Greek islands.

Through A Love Letter: To the Lady I’m with 20 Years, I aim to celebrate not only two decades of marriage but also the enduring beauty of the places that visited celebrating our commitment to each other. This piece stands as a musical testament to love, memory, and time.

In crafting music that speaks from the heart, I often reflect on the words of Wolfgang Amadeus Mozart. In a letter to his father dated November 8, 1777, Mozart wrote:

I cannot write poetically, for I am no poet.
I cannot artfully arrange my phrases so as to give light and shade.
Neither am I a painter;
Nor can I even express my thoughts by gesture and pantomime, for I am no dancer.
But I can do so in sounds.
I am a musician.

This profound declaration inspired me to create a collection of pieces I call Love Letters. Each piece is a musical expression lasting approximately 3-5 minutes, dedicated to someone dear to me. These compositions are my way of conveying emotions and memories that words alone cannot capture

This is the fifth piece in the Love Letter collection, written during a pivotal and transformative period in my life. I had recently moved to the San Francisco Bay Area with a rock band, seeking a fresh start. In doing so, I left behind a girlfriend in Dallas, to whom this piece is dedicated. At the time, I didn’t anticipate seeing her again, but after six to eight months, she made the decision to follow me out here.

Interestingly, I wrote this piece after she arrived in California, though its heart lies in the time we spent apart. It’s a reflection of the distance and longing that marked that chapter of our relationship, as well as the hope and connection that persisted despite the miles.

What makes this Love Letter particularly special is that she was the first person I ever dedicated a piece to who could actually play it, being a pianist herself. The music carries a deep personal resonance, blending themes of separation, yearning, and eventual reunion. Through its phrasing and melodic structure, it seeks to capture the emotional tapestry of our experience—a love sustained through distance and uncertainty.

In crafting music that speaks from the heart, I am reminded by the words of Wolfgang Amadeus Mozart. In a letter to his father dated November 8, 1777, Mozart wrote:

I cannot write poetically, for I am no poet.
I cannot artfully arrange my phrases so as to give light and shade.
Neither am I a painter;
Nor can I even express my thoughts by gesture and pantomime, for I am no dancer.
But I can do so in sounds.
I am a musician.

This profound declaration inspired me to create a collection of pieces I call Love Letters. Each piece is a musical expression lasting approximately 3-5 minutes, dedicated to someone dear to me. These compositions are my way of conveying emotions and memories that words alone cannot capture.

This Love Letter was written for Renée Trimarco during our second and most profound relationship—the best of three. The music emerged over just a few days, forming almost effortlessly in my mind before finding its way onto the page. It’s a deeply personal piece that captures the complexities of our connection, blending tenderness with moments of tension.

The piece employs a 2-against-3 rhythmic structure to create a sense of push and pull, mirroring the passionate dynamics of our relationship. Its phrasing is both yearning and intense, with melodies that seem to stretch beyond the notes themselves. Renee once described it as “bittersweet,” a term that resonates deeply with the spirit of the music and the essence of our time together.

The title, To the Lady with Deep Blue Eyes, reflects both the inspiration behind the piece and the vividness of Renee’s presence in my memory. The music is an exploration of love, longing, and the unspoken emotions that color relationships—especially those as layered and multifaceted as ours.

In crafting music that speaks from the heart, I am reminded by the words of Wolfgang Amadeus Mozart. In a letter to his father dated November 8, 1777, Mozart wrote:

I cannot write poetically, for I am no poet.
I cannot artfully arrange my phrases so as to give light and shade.
Neither am I a painter;
Nor can I even express my thoughts by gesture and pantomime, for I am no dancer.
But I can do so in sounds.
I am a musician.

This profound declaration inspired me to create a collection of pieces I call Love Letters. Each piece is a musical expression lasting approximately 3-5 minutes, dedicated to someone dear to me. These compositions are my way of conveying emotions and memories that words alone cannot capture.

This is the second love letter in my collection, and its creation was an unexpected yet intense burst of inspiration. It came to me one morning during a shower—a moment of clarity that set the tone for the entire day. By evening, the piece was fully notated and polished. My immersion in Chopin’s works at the time deeply influenced its composition, though Mozart’s elegance also found its way into the fabric of the music.

The Chopin piece that inspired me has always left me with mixed feelings. Specifically, I thought the choice to resolve to a major chord on the final note felt like a cop-out. I was determined not to do the same in my piece. Yet, as I wrote, it became clear that resolving to the major chord was exactly what the music needed. My apologies to Chopin for borrowing and embracing what I once criticized!

This piece holds a special place in my heart because of its personal backstory. It was originally titled To Lisa From Chopin and Mozart and dedicated to the first woman I lived with romantically. The title evolved after a turning point in our relationship. On the advice of her therapist, she moved out suddenly and without notice. That event lead me to rename it To a Lady. The new title reflects both the elegance and distance that now characterize the memory.

The premiere of A Love Letter: To a Lady From Chopin & Mozart took place in 1991 at a concert of new music at the University of North Texas (UNT). Unfortunately, I can no longer recall who performed it, but I remain grateful for their interpretation of this deeply personal work.