從黑夜到光明：孟德爾頌的《讚美歌》和 馬勒的第二號交響曲

Abstract

孟德爾頌的《讚美歌》和馬勒的第二號交響曲，是兩部經常被拿來和貝多芬第九號交響曲做比較的人聲交響曲，因為兩者在形式上都和貝多芬第九一樣，開始於三個器樂樂章，並結束以清唱劇式的宏偉終樂章。雖然絕大多數文獻關注的焦點在於貝多芬第九對這兩部作品的影響，但把三部作品放在一起觀察時，可發現孟德爾頌和馬勒的作品其實更具共通性──兩者都以宗教為題材，且共享「從黑夜到光明」的中心主旨。本論文即以孟德爾頌的《讚美歌》和馬勒的第二號交響曲為研究對象，一方面檢視兩部作品大不相同的創作歷程，各以何種方式影響樂曲特殊結構的形成，另一方面對照兩位作曲家如何透過諸多相似的手法，展現「從黑夜到光明」的進程。

Mendelssohn's "Lobgesang" and Mahler's Symphony No. 2 are two vocal symphonies that are often compared with Beethoven's Symphony No. 9, for both of them have the same formal design as Beethoven's 9th, opening with three instrumental movements and ending in a grandiose cantata-like finale. Although most of the literature focuses on the influence of Beethoven's 9th on these two works separately, we see more in common between Lobgesang and Mahler's 2nd when observing all three works together — the main themes of these two works are religious, and they also share the same keynote, "from darkness to light." This thesis takes Mendelssohn's "Lobgesang" and Mahler's Symphony No. 2 as the study objects, reviewing how the different compositional processes influenced the formation of their distinctive structures, and comparing how the two composers demonstrated the "darkness to light" process through a variety of similar methods.