A Research Of The Implications Of Mendelssohn's <Second Symphony Of Lobgesang>

Mendelssohn,the early romantic composer,was the most advanced composer in Europe during his lifetime,but the reception behind it went through a complicated twist.To explore the reasons,the belief background of the composer's conversion from jews to protestantism has triggered debates among celebrities and scholars of various times,which has affected the overall acceptance of the composer.Because of this special religious background,composers often discuss their own religious beliefs in music when creating works related to religious themes.This paper starts from the second "lobgesang" symphony written by the composer in 1840,which was widely controversial before his death but received little attention after his death.After music analysis of music ontological structure logic and other objective methods,the author interprets the religious and political implications of this work in combination with the research methods of new musicology,understands the composer's views on his own religious beliefs in this period,and tries to re-recognize the value and significance of Mendelssohn's works today.This paper is divided into four chapters.The first chapter will present Mendelssohn's religious background,sort out the historical comments and disputes about religious belief,and analyze the position behind the commenter and the influence of the changing trend of thought.The second chapter gives an overview of the creation background of the second "lobgesang" symphony.By placing the work in the composer's symphony creation,the problem of composer's symphony Opus number can be found.In addition,the review of this work is analyzed and summarized.Its association with the celebration of Gutenberg's printing allowed the composer to relate the symphony to religious themes.The third chapter makes an in-depth analysis of the concrete structure of the work,the development logic of music,and the means to combine the two genres of symphony and cantata.The fourth chapter is based on the music ontology analysis in the third chapter.Combined with the historical context at that time,it explains the Christian connotation in the work,the connection with the German inner spirit and the jewish consciousness of the composer,and explores the composer's views and understanding of religious belief in this period.