孟德爾頌一生創作無數，38年的歲月裡創作給小提琴的作品只有三首小提琴奏鳴曲、兩首小提琴協奏曲與一首小提琴與鋼琴的雙協奏曲，其中以小提琴協奏曲最為人稱道，但其優美的旋律與從傳統衍生出來的形式，卻不斷出現在他各個時期的作品裡。
本論文的論述由第一章孟德爾頌的生平開始，從他的生長經歷觀察其音樂風格的塑造過程，之後帶到關於《F小調小提琴奏鳴曲，作品四》的創作背景，從孟德爾頌的早期作品風格，去窺探這個作品的創作理念，並且在第二章從不同版本的樂譜中，相互比較並找到最符合孟德爾頌原著的版本。
第三章以樂曲分析為主，分析各種使用的手法，以及孟德爾頌如何在傳統的框架中發揮浪漫的本質。第四章則是從上述的研究中帶入筆者的音樂詮釋，希望以此能作為小提琴演奏者的參考。

Mendelssohn, a renowned German composer in the romantic period, had composed countless masterpieces throughout his 38 years of life. Out of his body of work, only five pieces were composed utilizing the violin as an instrument, “Violin Sonata in F ma-jor (1820)”, “Violin Sonata in F minor, Op. 4 (1823)”, “Violin Sonata in F major (1838)”, “Concerto for Piano, Violin, and Strings in D minor, MWV O4 (1823)”, “Violin Con-certo in D minor, MWV O 3 (1822)” and “Violin concerto in E minor, Op. 64 (1844)”, and. Among these pieces, “Violin concerto in e minor, Op. 64” is most praised due to its elegant melody and traditional form, which is a reoccurring trait in his other masterpiec-es.
In the present study, the first chapter starts off with Mendelssohn’s early life expe-riences and how they influenced his style of music. We took “Violin Sonata in f minor, Op. 4” as an example to explore the history and concepts behind some of his early works.
In the second chapter, different versions of the score were compared in search of the ones that resemble the most from the original.
The third chapter focuses on music analysis of Mendelssohn’s scores. Especially the various techniques he used to showcase the essence of the romantic period in a tradi-tional framework.
In the last chapter, the author gave his own musical interpretation applying the re-sults of this study. The goal of this study is to provide a reference and a new prospective for violinists.

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