本文是 Tahra 行的福老1954年於洛桑音指的九CD，所附的小子中的一篇短文。另有一篇的文章，明福老指九的展沿革。先以篇短文友共享。恐文欠周全，特附英文原文於後以供考。
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《福特格勒多芬第九交曲》
第九交曲然既是多芬全部交曲的，也是最高的冠冕。它非格所定的是交曲制作的，它反而指引了交曲後的展。根多芬的作看，第九交曲和撒以及最後首奏曲暨四重奏，都在他大的晚期作品之列。
多芬想一件流行作品(popular work / 通俗的、大的)。以他人知的性格，是不做的更何，若非多芬，有算得上是特的？但是他清楚知道重要性，即：人民群和人乃是平等的。了他的隔解出，他向宏大的群。是他的生命和作度的真正涵；也是我尊崇他有若人的原因。
任何的分析都得到的：第九交曲是粹的音；是最重要的一。
所的《合唱-幻想曲》疑是第九交曲的某前作；然我必承多芬作《合唱-幻想曲》，他想到作出第九交曲。
依我所，全部四章中的感是完全均等的。而不管什角度看，最後的流行旋律不至於把章的值低。
我所知，第九交曲於多芬在世只演出一次。我唯有後的演出中才能估量件全新作品的。而正是理查格的演出了。另一方面，我必切：唯有是活的於日常生活中展，才有意。如多芬的交曲等作品藏冷起，那是不可能的。就像所有存而生盎然的品一；只有品所的人民和群不再存在，些品才死亡。所以，任何只洲量身打造的音作品，只能持和洲一的命。
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後：《句看福老的音》
「唯有是活的於日常生活中展，才具有意。」
正是句，我可以推福老指的特色。
如巴波因所言，他以做音的方式生活；言之，他音注入生活中，此同，他也生活注入音之中。音()生活是一且一致的。也唯有如此，音才著每天的生命更新。
於是我可以推，福老著一的人生境遇悟(、比、)，每次演出予音他下的生命涵。所以同是多芬第九，1942年三月和四月的演出中，鼓的意涵就不相同。
三月22-23日的鼓是的控；而四月19日希特勒生日前夕的演出，更多是人的怒(因被迫演出)。
而尾的一句：
「任何只洲量身打造的音作品，只能持和洲ㄧ的命。」
更可福老在上的胸襟；他是真正了解什是(音)的，那殊罕的、不打折扣地以全生命投入(音)之人！
，有地域之隔、有地自限的地。通向全人、全世界、全宇宙——就是他的。句，就是多芬的；就是所有大家的！言之，所有囿於一地之的，非大的。
再福老常以一音，可他的音不同於一自限於音的音家；而其音涵括之又甚於其他音家。
所以，我可以，他在是一位集大成的音家，一若文的文西！
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英文原文：《Furtwängler speaks about the ninth symphony》
The IXth Symphony is surely the end and the crowning of all Beethoven Symphonies. But against Wagner’s belief that it is the end of symphonic production shows the successive development of the symphony. The IXth Symphony belonged according to Beethoven to the great works of his last period together with the Missa Solomnis, the last sonatas and the quartets.
Beethoven never thought of writing a popular work. He is too much of a learned personality for that… In fact, who is an individual if not Beethoven? But he knew of the importance that the people’s community has even for the single person. In order to free himself from his isolation, he turned to the great community. This is the true content of his vision of life, his attitude in all his compositions, that is also why we honour him like a Saint.
As any precise analysis would have it, the IXth Symphony is above all pure music.
The so called 《Chor-Fantasie》 is undoubtedly a kind of introductory study to the IXth Symphony; of curse one has to assume that when composing this《Chor-Fantasie》, Beethoven did notes yet know that he would compose the IXth Symphony.
In my opinion, the inspiration is equal in all four movements. At any rate, the popular melody does in no way belittle the finale.
As far as I know, at the time of Beethoven the IXth Symphony was performed only once. Only successively have we been able to size the problem of this totally new work from its performers. And it was Richard Wagner’s performance of the Symphony that marks the point. On the other hand one must bear in mind that tradition has a meaning only as long as it is alive and present in daily life. To store and freeze works like Beethoven’s symphonies is impossible. Like all living works of arts, these works only die when the people, the community for whom they are intended, do not exist any longer. Any musical works cut to European size will only last as long as Europe itself.
