<p>一百二十人擠滿了哈巴德教堂。當他們走進來，踩掉靴子上的雪，解開毛線圍巾時，我意識到在我威斯康星州的小鎮上，再也找不到比這更大的猶太人聚會了。而我，一個基督教女性，坐在鍵盤前，身邊是一羣演奏猶太歌曲的音樂家。</p>
<p>小提琴手坐得離我如此之近，以至於我可以撥動他們的琴絃。他們手中的樂器幾乎有一個世紀的歷史。這些小提琴曾在大屠殺期間由猶太人擁有和演奏。作為 “希望的小提琴” 項目的一部分被拯救出來，它們現在在世界各地巡演，既是召喚也是警告：記住，否則歷史將重演。</p>
<p>我和我的朋友 Hal 拼車去音樂會，他將擔任指揮、主持和小號演奏。在車上，我們討論了鄰近明尼蘇達州的移民和海關執法局（ICE），那裏有一名女性因抗議他們的存在而失去了生命。我們談到了領導人將美國的問題歸咎於移民，以及武裝特工在城市街道上游行。防止歷史重演是否已經為時已晚？</p>
<p><img src="https://imageproxy.pbkrs.com/https://s.yimg.com/ny/api/res/1.2/hu87J1u8bMhcxlIVWgHMLw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD0xNjU2/https://media.zenfs.com/en/the_huffington_post_584/453f11ad3e167e396232ee36a812bd4d?x-oss-process=image/auto-orient,1/interlace,1/resize,w_1440,h_1440/quality,q_95/format,jpg" alt="" original-src="https://imageproxy.pbkrs.com/https://s.yimg.com/ny/api/res/1.2/hu87J1u8bMhcxlIVWgHMLw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD0xNjU2/https://media.zenfs.com/en/the_huffington_post_584/453f11ad3e167e396232ee36a812bd4d"/></p>
<p>音樂會前展示的希望小提琴。每一件樂器在大屠殺期間或之前曾由猶太人擁有，並被修復以紀念曾擁有它們的音樂家。感謝 Nancy Jorgensen 提供。</p>
<p>幾年前，我將我的唾液寄給一家家譜公司，得知我有 9% 的阿什肯納茲猶太血統，可能是從祖父或曾祖父那裏遺傳來的。我給我的兄弟打了電話。我們搜索了我們的 DNA 親屬，並追溯到我父親一方的血統，但能夠告訴我們更多關於我們血統的人早已去世。</p>
<p>我在天主教家庭長大，跟修女學習鋼琴，併為主日彌撒演奏聖歌。但我不僅僅是天主教徒。我的手，熟悉《哈瓦納吉拉》的和絃，也攜帶着猶太基因。感覺就像繼承了一件藝術品，卻不知道我的家族是如何擁有它的。</p>
<p><strong>另請閲讀：超級碗期間有一個廣告人們沒有談論。它讓我感到恐懼。</strong></p>
<p> <em><strong>HuffPost 致力於無畏地報道特朗普政府。點擊這裏支持我們的使命併成為會員。</strong></em></p>
<p>當人羣安靜下來時，拉比走上前。他談到了傳統，他的妻子在每一排的盡頭點燃蠟燭。他請觀眾傳遞火焰，從一支蠟燭到另一支。</p>
<p>“光最美的地方在於，” 他説，“你可以分享它，而這不會減少你擁有的任何東西。”</p>
<p>然後他唱歌，每次他回到副歌時，聲音都悄悄加入。<em>Dai, dai, dai, dai, dai…</em></p>
<p>Hal 站起來吹他的號角，我意識到他戴着他的猶太小帽。我們經常一起排練，他從不戴。我以為今晚感覺有必要。Hal 在一個猶太社區長大，聽他們的音樂。他的父親來自波蘭的比亞韋斯托克，那裏曾有 55,000 名猶太人，但現在只有 2,000 人。他的叔叔在奧斯維辛倖存，但一個姑姑和一個表親沒有。Hal 高高舉起公羊角號，他的氣息穿過它。生澀的音符在大廳中迴響，這是一種旨在喚醒人們的傳統。這段音樂對他來説是個人的。</p>
<p><img src="https://imageproxy.pbkrs.com/https://s.yimg.com/ny/api/res/1.2/02OppSltu8iMxcHgIBZigA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD05MDc-/https://media.zenfs.com/en/the_huffington_post_584/89eb849e9c7293e84df6bd54e33c6a81?x-oss-process=image/auto-orient,1/interlace,1/resize,w_1440,h_1440/quality,q_95/format,jpg" alt="" original-src="https://imageproxy.pbkrs.com/https://s.yimg.com/ny/api/res/1.2/02OppSltu8iMxcHgIBZigA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD05MDc-/https://media.zenfs.com/en/the_huffington_post_584/89eb849e9c7293e84df6bd54e33c6a81"/></p>
<p>作者（左側）和其他音樂家在希望小提琴音樂會前排練，由編曲和指揮 Hal Kacanek 指導。感謝 Nancy Jorgensen 提供。</p>
<p><em>喜歡這篇文章嗎？支持獨立新聞事業。支持 HuffPost。</em></p>
<p>當齊奏的小提琴演奏《奧西·沙洛姆》時，每個音符像家人一樣依靠着下一個。隨着單簧管的加入，聲音逐漸增強，接着是小號、大提琴和低音，我想起這些絃樂曾經被沉默。</p>
<p>我們演奏了愛情歌曲和婚禮歌曲。民謠和舞曲。一位坐在我旁邊的小提琴手説她要求使用 3/4 大小的小提琴。當她用弓劃過琴絃時，我想知道曾經有哪個小猶太男孩或女孩扭動過那些調音釘，並用他們的小手指按在那個指板上。</p>
<p><strong>另請閲讀：歷史是否在重演？大屠殺時代的小提琴帶來希望——以及對明尼蘇達的警告</strong></p>
<p>一位小提琴手開場演奏《希內·馬·托夫》，當我們其餘的人加入時，我感激這個温暖的大廳和我們在音樂會前享用的豐盛自助餐，包括湯、開胃菜和甜點。我想起了一張我曾見過的黑白照片。照片中是一個樂團在寒冷的營地中演奏，或許正在演奏這首歌，歌詞的諷刺意味：“兄弟姐妹同住在一起是多麼美好和愉快。”</p>
<p>我們演奏了 12 首曲子，然後最後一首曲子由 Hal 的小號開始。像握手一樣，單簧管加入，接着是低音單簧管、大提琴、我的部分，最後是絃樂。</p>
<p>希望小提琴因其設計而可以在博物館中欣賞：曲線和翻新的表面，鑲嵌的戴維星。但作為一個活的文物，它們講述了那些在世界黑暗時刻仍然保持音樂活力的人的故事。</p>
<p><img src="https://imageproxy.pbkrs.com/https://s.yimg.com/ny/api/res/1.2/qVA587Vh4_1Rl_Q0RbbcGQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD05MTM-/https://media.zenfs.com/en/the_huffington_post_584/84850bf5678fb67c55d8a2ef210a6dc5?x-oss-process=image/auto-orient,1/interlace,1/resize,w_1440,h_1440/quality,q_95/format,jpg" alt="" original-src="https://imageproxy.pbkrs.com/https://s.yimg.com/ny/api/res/1.2/qVA587Vh4_1Rl_Q0RbbcGQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD05MTM-/https://media.zenfs.com/en/the_huffington_post_584/84850bf5678fb67c55d8a2ef210a6dc5"/></p>
<p>作者（左側）在希望小提琴音樂會上演奏，由 Hal Kacanek 指揮和編排，演奏的樂器在大屠殺中倖存。感謝 Nancy Jorgensen 提供。</p>
<p>音樂會後一週，我和 Hal 拼車去另一個音樂活動。我們談論了當天我們都觀看的新聞。明尼阿波利斯又發生了一起抗議者死亡事件，離我開車經過的街道很近。一個人死了，他在離我家僅幾個小時的高中上學。</p>
<p>我想到了我們在《希望的小提琴》音樂會上的講話，樂器不僅是歷史，更是警示。大屠殺並不是從集中營和死亡開始的，而是從語言、指責和殘酷的正常化開始的。聽到明尼蘇達的新聞，我在想是否有人意識到這些跡象，或者相信我們可能在重蹈覆轍。</p>
<p><strong>另請閲讀：我一生都在節儉。然後一封改變人生的郵件出現在我的收件箱，我不得不做出一個令人恐懼的選擇。</strong></p>
<p>《希望的小提琴》現在已經離開我的州，温柔地裝在它們的琴盒裏，等待在新的地方被新的演奏者使用。我想象着下一個演奏者轉動琴軸，用弓劃過琴絃，傳遞希望的信息。</p>
<p>從 5 月 1 日起，它們將會在明尼蘇達。</p>
<h3>相關...</h3>
<ul>
<li>畢業 10 年後，一名學生給我發了一個我從未預料到的道歉私信</li>
<li>當我女兒想參加奧運會時，我感到震驚。接下來發生的事情更令人震驚。</li>
<li>我丈夫的醫療團隊未能幫助他。然後一個陌生人插手並説了 6 個字，拯救了他的生命。</li>
</ul>
<p><strong>在 HuffPost 上閲讀原文</strong></p>

<p>希望小提琴項目展示了大屠殺時期的小提琴，提醒觀眾銘記歷史和紀念的重要性。最近在明尼蘇達州舉行的一場音樂會上，來自不同背景的音樂家們齊聚一堂，包括一位在鍵盤上演奏的基督教女性，共同演奏猶太歌曲。此次活動突顯了這些曾由猶太音樂家擁有的樂器的重要性，以及認識歷史重演跡象的必要性。音樂會成為了團結和與會者共同遺產的深刻提醒，強調了銘記過去以防止未來暴行的重要性</p>

<p>One hundred and twenty people packed the Chabad. As they trudged in, stamping snow from their boots and unwinding woolen scarves, I realized I wouldn’t find a bigger gathering of Jewish people anywhere in my Wisconsin town. And there I was, a Christian woman at the keyboard, with a group of musicians playing Jewish songs.</p>
<div class="lb-trans"><p>一百二十人擠滿了哈巴德教堂。當他們走進來，踩掉靴子上的雪，解開毛線圍巾時，我意識到在我威斯康星州的小鎮上，再也找不到比這更大的猶太人聚會了。而我，一個基督教女性，坐在鍵盤前，身邊是一羣演奏猶太歌曲的音樂家。</p>
</div><p>The violinists, seated so close to me that I could have plucked their strings, cradled instruments that were almost a century old. The violins were once owned and played by Jewish people during the Holocaust. Rescued as part of the Violins of Hope project, they now toured the world as both summons and warning: Remember, or history repeats.</p>
<div class="lb-trans"><p>小提琴手坐得離我如此之近，以至於我可以撥動他們的琴絃。他們手中的樂器幾乎有一個世紀的歷史。這些小提琴曾在大屠殺期間由猶太人擁有和演奏。作為 “希望的小提琴” 項目的一部分被拯救出來，它們現在在世界各地巡演，既是召喚也是警告：記住，否則歷史將重演。</p>
</div><p>I had carpooled to the concert with my friend Hal, who would direct, emcee, and play trumpet. On the drive, we discussed ICE in neighboring Minnesota, where a woman lost her life protesting their presence. We talked about leaders blaming immigrants for America’s problems, and about armed agents marching city streets. Was it already too late to prevent repeating history?</p>
<div class="lb-trans"><p>我和我的朋友 Hal 拼車去音樂會，他將擔任指揮、主持和小號演奏。在車上，我們討論了鄰近明尼蘇達州的移民和海關執法局（ICE），那裏有一名女性因抗議他們的存在而失去了生命。我們談到了領導人將美國的問題歸咎於移民，以及武裝特工在城市街道上游行。防止歷史重演是否已經為時已晚？</p>
</div><p><img src="https://imageproxy.pbkrs.com/https://s.yimg.com/ny/api/res/1.2/hu87J1u8bMhcxlIVWgHMLw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD0xNjU2/https://media.zenfs.com/en/the_huffington_post_584/453f11ad3e167e396232ee36a812bd4d" alt="" original-src="https://s.yimg.com/ny/api/res/1.2/hu87J1u8bMhcxlIVWgHMLw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD0xNjU2/https://media.zenfs.com/en/the_huffington_post_584/453f11ad3e167e396232ee36a812bd4d"/></p>
<p>Violins of Hope displayed before the concert. Each instrument was owned by a Jewish person before or during the Holocaust and restored to be played in remembrance of the musicians who once owned them. Courtesy of Nancy Jorgensen</p>
<div class="lb-trans"><p>音樂會前展示的希望小提琴。每一件樂器在大屠殺期間或之前曾由猶太人擁有，並被修復以紀念曾擁有它們的音樂家。感謝 Nancy Jorgensen 提供。</p>
</div><p>Several years ago, I sent my spit to a genealogy company and learned that I’m 9% Ashkenazi Jewish, likely inherited from a grandparent or great-grandparent. I called my brother. We searched our DNA relatives and traced this heritage to my father’s side, but the people who could have told us more about our heritage died long ago.</p>
<div class="lb-trans"><p>幾年前，我將我的唾液寄給一家家譜公司，得知我有 9% 的阿什肯納茲猶太血統，可能是從祖父或曾祖父那裏遺傳來的。我給我的兄弟打了電話。我們搜索了我們的 DNA 親屬，並追溯到我父親一方的血統，但能夠告訴我們更多關於我們血統的人早已去世。</p>
</div><p>Raised Catholic, I studied piano with the nuns and played hymns for Sunday Mass. But I wasn’t just Catholic. My hands, familiar with the chords of “Hava Nagila,” carried Jewish genes too. It felt like inheriting a work of art without knowing how my family came to own it.</p>
<div class="lb-trans"><p>我在天主教家庭長大，跟修女學習鋼琴，併為主日彌撒演奏聖歌。但我不僅僅是天主教徒。我的手，熟悉《哈瓦納吉拉》的和絃，也攜帶着猶太基因。感覺就像繼承了一件藝術品，卻不知道我的家族是如何擁有它的。</p>
</div><p><strong>Also Read: There Was One Ad During The Super Bowl That People Aren’t Talking About. It Horrified Me.</strong></p>
<div class="lb-trans"><p><strong>另請閲讀：超級碗期間有一個廣告人們沒有談論。它讓我感到恐懼。</strong></p>
</div><blockquote>
<p><em><strong>HuffPost is committed to fearlessly covering the Trump administration. Click here to support our mission and become a member today.</strong></em></p>
</blockquote>
<div class="lb-trans"><p> <em><strong>HuffPost 致力於無畏地報道特朗普政府。點擊這裏支持我們的使命併成為會員。</strong></em></p>
</div><p>As the crowd quieted, the rabbi came forward. He spoke about traditions as his wife lit candles at the end of each row. He asked the audience to pass the flame, one candle to the next.</p>
<div class="lb-trans"><p>當人羣安靜下來時，拉比走上前。他談到了傳統，他的妻子在每一排的盡頭點燃蠟燭。他請觀眾傳遞火焰，從一支蠟燭到另一支。</p>
</div><p>“The most beautiful thing about light,” he said, “is you can share it and it won’t diminish anything from you.”</p>
<div class="lb-trans"><p>“光最美的地方在於，” 他説，“你可以分享它，而這不會減少你擁有的任何東西。”</p>
</div><p>Then he sang, and voices, quietly, joined each time he returned to the refrain. <em>Dai, dai, dai, dai, dai…</em></p>
<div class="lb-trans"><p>然後他唱歌，每次他回到副歌時，聲音都悄悄加入。<em>Dai, dai, dai, dai, dai…</em></p>
</div><p>Hal stood to play his shofar, and I realized he was wearing his yarmulke. We rehearse together often, and he never wears it. I assumed tonight it felt necessary. Hal grew up in a Jewish community, listening to their music. His father came from Bialystok, Poland, where there once were 55,000 Jews, but now there are only 2,000. His uncle survived Auschwitz, but an aunt and cousin did not. Hal held the ram’s horn high, his breath coursing through it. Raw notes echoed through the hall, a tradition meant to shake people out of complacency. This music was personal for him.</p>
<div class="lb-trans"><p>Hal 站起來吹他的號角，我意識到他戴着他的猶太小帽。我們經常一起排練，他從不戴。我以為今晚感覺有必要。Hal 在一個猶太社區長大，聽他們的音樂。他的父親來自波蘭的比亞韋斯托克，那裏曾有 55,000 名猶太人，但現在只有 2,000 人。他的叔叔在奧斯維辛倖存，但一個姑姑和一個表親沒有。Hal 高高舉起公羊角號，他的氣息穿過它。生澀的音符在大廳中迴響，這是一種旨在喚醒人們的傳統。這段音樂對他來説是個人的。</p>
</div><p><img src="https://imageproxy.pbkrs.com/https://s.yimg.com/ny/api/res/1.2/02OppSltu8iMxcHgIBZigA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD05MDc-/https://media.zenfs.com/en/the_huffington_post_584/89eb849e9c7293e84df6bd54e33c6a81" alt="" original-src="https://s.yimg.com/ny/api/res/1.2/02OppSltu8iMxcHgIBZigA--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD05MDc-/https://media.zenfs.com/en/the_huffington_post_584/89eb849e9c7293e84df6bd54e33c6a81"/></p>
<p>The author (far left) and and other musicians rehearse before a Violins of Hope concert under the direction of arranger and conductor Hal Kacanek. Courtesy of Nancy Jorgensen</p>
<div class="lb-trans"><p>作者（左側）和其他音樂家在希望小提琴音樂會前排練，由編曲和指揮 Hal Kacanek 指導。感謝 Nancy Jorgensen 提供。</p>
</div><p><em>Like this article? Keep independent journalism alive. Support HuffPost.</em></p>
<div class="lb-trans"><p><em>喜歡這篇文章嗎？支持獨立新聞事業。支持 HuffPost。</em></p>
</div><p>As unison violins played “Osie Shalom,” each note leaned on the next like family. The sound grew as the clarinets joined, then the trumpet, cellos, and bass, and I remembered that these strings had once been silenced.</p>
<div class="lb-trans"><p>當齊奏的小提琴演奏《奧西·沙洛姆》時，每個音符像家人一樣依靠着下一個。隨着單簧管的加入，聲音逐漸增強，接着是小號、大提琴和低音，我想起這些絃樂曾經被沉默。</p>
</div><p>We played love songs and wedding songs. Folk songs and dance tunes. A violinist who sat close to me said she’d requested the ¾ size violin. As she drew the bow across her strings, I wondered what little Jewish boy or girl twisted those same tuning pegs and pressed their little fingers on that fingerboard.</p>
<div class="lb-trans"><p>我們演奏了愛情歌曲和婚禮歌曲。民謠和舞曲。一位坐在我旁邊的小提琴手説她要求使用 3/4 大小的小提琴。當她用弓劃過琴絃時，我想知道曾經有哪個小猶太男孩或女孩扭動過那些調音釘，並用他們的小手指按在那個指板上。</p>
</div><p><strong>Also Read: Is History Repeating Itself? Holocaust-Era Violins Bring Hope — And A Warning — For Minnesota</strong></p>
<div class="lb-trans"><p><strong>另請閲讀：歷史是否在重演？大屠殺時代的小提琴帶來希望——以及對明尼蘇達的警告</strong></p>
</div><p>A single violist opened “Hine Ma Tov,” and as the rest of us added on, I appreciated the heated hall and bountiful buffet of soups, appetizers, and sweets we enjoyed pre-concert. An image came to me of a black-and-white photo I’d once seen. Of musicians in a camp ensemble, in the brutal cold, perhaps playing this very song, and the irony of its words: “How good and how pleasant it is for brothers and sisters to dwell together in unity.”</p>
<div class="lb-trans"><p>一位小提琴手開場演奏《希內·馬·托夫》，當我們其餘的人加入時，我感激這個温暖的大廳和我們在音樂會前享用的豐盛自助餐，包括湯、開胃菜和甜點。我想起了一張我曾見過的黑白照片。照片中是一個樂團在寒冷的營地中演奏，或許正在演奏這首歌，歌詞的諷刺意味：“兄弟姐妹同住在一起是多麼美好和愉快。”</p>
</div><p>We played 12 pieces, and then the final number began with Hal on trumpet. Like joining hands, the clarinet added, followed by bass clarinet, cellos, my part, and finally strings.</p>
<div class="lb-trans"><p>我們演奏了 12 首曲子，然後最後一首曲子由 Hal 的小號開始。像握手一樣，單簧管加入，接着是低音單簧管、大提琴、我的部分，最後是絃樂。</p>
</div><p>The Violins of Hope could be admired in a museum for their design: curved lines and refurbished finishes, inlaid stars of David. But as a living artifact, they speak the story of those who kept music alive, even when the world went dark.</p>
<div class="lb-trans"><p>希望小提琴因其設計而可以在博物館中欣賞：曲線和翻新的表面，鑲嵌的戴維星。但作為一個活的文物，它們講述了那些在世界黑暗時刻仍然保持音樂活力的人的故事。</p>
</div><p><img src="https://imageproxy.pbkrs.com/https://s.yimg.com/ny/api/res/1.2/qVA587Vh4_1Rl_Q0RbbcGQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD05MTM-/https://media.zenfs.com/en/the_huffington_post_584/84850bf5678fb67c55d8a2ef210a6dc5" alt="" original-src="https://s.yimg.com/ny/api/res/1.2/qVA587Vh4_1Rl_Q0RbbcGQ--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD05MTM-/https://media.zenfs.com/en/the_huffington_post_584/84850bf5678fb67c55d8a2ef210a6dc5"/></p>
<p>The author (far left) playing at a Violins of Hope concert, directed and arranged by Hal Kacanek, and featuring instruments that survived the Holocaust. Courtesy of Nancy Jorgensen</p>
<div class="lb-trans"><p>作者（左側）在希望小提琴音樂會上演奏，由 Hal Kacanek 指揮和編排，演奏的樂器在大屠殺中倖存。感謝 Nancy Jorgensen 提供。</p>
</div><p>One week after the concert, I carpooled with Hal to another musical event. We talked about the news we’d both watched that day. There was another protester’s death in Minneapolis, close enough that I’d driven those streets myself. A man was dead, someone who attended high school just hours from my home.</p>
<div class="lb-trans"><p>音樂會後一週，我和 Hal 拼車去另一個音樂活動。我們談論了當天我們都觀看的新聞。明尼阿波利斯又發生了一起抗議者死亡事件，離我開車經過的街道很近。一個人死了，他在離我家僅幾個小時的高中上學。</p>
</div><p>I thought about the remarks at our Violins of Hope concert, that the instruments were not only history, but warning. The Holocaust didn’t begin with camps and death. It began with language, with blame, with the normalization of cruelty. Listening to the news from Minnesota, I wondered if anyone recognized the signs or believed we might be repeating mistakes.</p>
<div class="lb-trans"><p>我想到了我們在《希望的小提琴》音樂會上的講話，樂器不僅是歷史，更是警示。大屠殺並不是從集中營和死亡開始的，而是從語言、指責和殘酷的正常化開始的。聽到明尼蘇達的新聞，我在想是否有人意識到這些跡象，或者相信我們可能在重蹈覆轍。</p>
</div><p><strong>Also Read: I Scrimped My Entire Life. Then A Life-Changing Email Landed In My Inbox And I Had To Make A Frightening Choice.</strong></p>
<div class="lb-trans"><p><strong>另請閲讀：我一生都在節儉。然後一封改變人生的郵件出現在我的收件箱，我不得不做出一個令人恐懼的選擇。</strong></p>
</div><p>The Violins of Hope have left my state now, lovingly packed in their cases, waiting to be nestled under new chins in new places. I envision the next players turning pegs, sweeping bows across strings, carrying forward a message of hope.</p>
<div class="lb-trans"><p>《希望的小提琴》現在已經離開我的州，温柔地裝在它們的琴盒裏，等待在新的地方被新的演奏者使用。我想象着下一個演奏者轉動琴軸，用弓劃過琴絃，傳遞希望的信息。</p>
</div><p>Starting May 1, they will be in Minnesota.</p>
<div class="lb-trans"><p>從 5 月 1 日起，它們將會在明尼蘇達。</p>
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</div><p><strong>Read the original on HuffPost</strong></p>
<div class="lb-trans"><p><strong>在 HuffPost 上閲讀原文</strong></p>
</div>

歷史是否在重演？大屠殺時期的小提琴為明尼蘇達帶來了希望和警示