In 1941, Olivier Messiaen performed Quatuor pour la n du temps for the rst time at Stalag VIII-A, the prison camp in Görlitz. Munich was declared a city clean of Jews that year. This project takes as its starting point Hitler’s speeches showmanship and his obsession for classical music. Alienated in its absurd representation and showmanship, two hands swollen of death and false gestures con- duct the “Final Solution”. Those hands miss the creative capacity of art and music. Serve these same hands, gesticulating empty in the air, to conduct this fantastic ode to the rebellion, resis- tance and survival of the human being, which Messiaen piece represents. Like those of a false orchestra director, these hands cannot but accept the triumph of their staun chest enemy. Far from controlling others spreading terror, they are defeated with the lightest of weapons, the fruit of ab- solute beauty: music. Gestures that were once associated with death and intransigence are now reconverted, under the in uence of music, into graceful movements linked to life and to the almost eternal existence of the essentially human.