1942年4月19日希特勒生日前夕，福特格勒指九最後章尾 「最後章，在巨大的狂喜和歌之後，出以言明的段。福特格勒一向在束前的小上狂加速，暗示了乎失控的激情。但是在次演出中，最後小呈的，朝著深逃，是我在任何音中未的。就好像福特格勒所做的，正是斯曼小《浮士德博士》中的作曲家要做的：收回第九交曲，因人所有高面的希望和感都前功了。特 · 班明 (Walter Benjamin) ，每一文明的文()同是野的文()。在第九交曲恐的演出中，史前例地明了他的法。」( Michael Tanner )
以上段描述，比目前台政局社的走向和演，似乎是非常非常切的照
“人所有高面的希望和感都前功了！”
：福特格勒、希特勒和九
joehauz_mypaper/post/1364853465
“…… And in the last movement, after stupendous ecstasies and paeans, the unspeakable happens. Furtwängler always accelerated wildly for the closing bars, suggesting a barely controlled excitement. But on this occasion the last bars are a nightmare of nihilism, a stampede towards the abyss, such as I have never heard in any other music. It is as if Furtwängler is doing what Thomas Mann's fictional composer says he will do in Dr Faustus: take back the Ninth Symphony, because all the hopes and aspirations of the noble side of humanity have come to naught….Walter Benjamin said that every document of civilization is also a document of barbarism. Never has that been more true than in this terrifying account of the Ninth."
—— By Michael Tanner, 《Furtwängler, Hitler, and the Ninth》
Walter Benjamin (1892-1940)
1940年9月21日， 班雅明在著逃粹，於法西界的波特沃自。
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