Abstract
This paper explains that John Mitchell, born in Hollywood, California, in 1941, has set to music the works of countless poets, including T.S. Eliot, Robert Browning, Sylvia Plath, Dylan Thomas, Robert Frost, and William Blake. The author describes that, in "To the Thawing Wind", the lyrics by Frost begin very shortly after the music, which is not often seen with Mitchell's style, suggesting the angst of this piece, the feeling of "almost there, not much longer now"; the speed of the words and music also reflect the haste in the situation. The paper relates that both of Robert Frost's poems are sung with a baritone voice, quite contrary to Mitchell's creations based on William Blake's poetry, which are sung by a soprano.

From the Paper
"I am sure John Mitchell had a different idea when he heard this poem, as he seems to have interpreted the man as being lonely and maybe a bit afraid. The music has a somber sound, which only gets sadder at the mention of the "saddest city lane". Even the reading of those three words suggests loneliness, the singers' baritone voices carrying the notes like an echo in an abyss. The somber music, however, does end before the poem does. After the cry that is not for him, the missing "good-bye", the music takes a happy turn, and the man looks up to the moon. Now he knows what time it is, and again is comforted by his one true acquaintance, the night. So perhaps Mitchell would agree that the man is not lonely, that he only needs to be reminded by the sight of a familiar face that he is not alone. The night is always there for him, and he will never be alone."

Tags:speed, baritone, soprano, echo, listener