「⋯⋯最後樂章，在巨大的狂喜和凱歌之後，出現難以言明的樂段。福特萬格勒一向在結束前的小節上瘋狂加速，暗示了幾乎失控的激情。但是在這次演出中，最後幾小節呈現虛無的夢魘，朝著深淵潰逃，這是我在任何音樂中從未聽過的。就好像福特萬格勒所做的，正是湯瑪斯曼小說《浮士德博士》中的作曲家聲稱要做的：收回第九號交響曲，因為人類所有高貴面的希望和靈感都前功盡棄了。⋯⋯華爾特 · 班傑明 (Walter Benjamin) 說過，每一個文明的文獻(記錄)同時是野蠻的文獻(記錄)。在這個第九交響曲驚恐的演出中，史無前例地證明了他的說法。」( Michael Tanner )

以上這段描述，比對目前台灣政局與社會的走向和演變，似乎是非常非常貼切的寫照⋯⋯
“人類所有高貴面的希望和靈感都前功盡棄了！”

參閱：福特萬格勒、希特勒和貝九
http://mypaper.pchome.com.tw/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， 班雅明在試著逃離納粹時，於法西邊界的波爾特沃自殺。