What do we do when faced with unspeakable horror? Play music is what a resident of Sarajevo, capital of Bosnia, did, even as bombs rained around him. This is a story of courage and grace in difficult times
當面對難以言喻的恐怖時，我們該做甚麼呢? 塞拉耶佛，波斯尼亞和黑塞哥維那的首都的居民即使彈於雨下，他們會演奏音樂。這是一個艱困時期還充滿勇氣和風度的故事。
As was Vedran Smailovic, principal cellist of the Sarajevo Opera. The year was 1992, 10 o'clock morning on May 27. Smailovic looked out of his window to find flesh, blood, bone, and rubble splattered over the area.
Vedran Smailovic是薩拉耶夫管弦樂團的大提琴手，1992 年5 月 27 日，從他家的窗外親眼看見22位排隊買麵包的人被炸死， 瓦礫和血肉屍骨散落一地。
So every evening, Smailovic would walk to the middle of the street, where the massacre had occurred. He played to ruined homes, smoldering fires, scared people hiding in basements and he is 37 at the time.
從此每天不懼烽火，天天到事發的街上拉大提琴，替那些家園被毀，火焰悶燒，嚇的躲在地下室的人演奏Albinoni’s Adagio，那時他37歲。
He had decided to “daily offer a musical prayer for peace”, he said. As his story began to filter into the press, he became a symbol for peace in Bosnia. An English composer, David Wilde, was so moved by the story that he wrote a composition for unaccompanied cello, simply called ‘The Cellist of Sarajevo’, into which he poured his own feelings of outrage, love, and brotherhood with Vedran Smailovic. Yo Yo Ma played it at the International Cello Festival in Manchester, 1994.他決定"每天提供音樂的和平禱告"。隨著他的故事上了新聞，他成為一個波士尼亞和平的象徵。 英國作曲家David Wilde被此故事感動，寫下無伴奏的the Cellist of Sarajevo曲子，然後1994年馬友友在 曼徹斯特 的國際大提琴節演奏此曲。
Paul Sullivan describes the performance this way:
保羅·沙利文介紹當時的表演：
When he had finished, Ma remained bent over his cello, his bow resting on the strings. No one in the hall moved or made a sound for a long time. It was as though we had just witnessed that horrifying massacre ourselves.
當他演奏完，馬仍然曲在大提琴上，他的弓在琴弦上休息。在大廳裡，很長一段時間沒有人移動或出聲。好像我們剛剛親眼目睹了駭人聽聞的大屠殺。
Finally, Ma looked out across the audience, and stretched out his hand, beckoning someone to come to the stage. An indescribable electric shock swept over us as we realised who it was: Vedran Smailovic: the cellist of Sarajevo.
最後，看著馬看向的觀眾席並伸出手，招呼某人來到台上。當我們意識到這是誰時，一種說不出的電擊席捲了我們，Vedran Smailovic： 塞拉耶佛的大提琴手。
Smailovic rose from his seat and walked down the aisle as Ma left the stage to meet him. They flung their arms around each other in an exuberant embrace. Everyone in the hall errupted in a chaotic, emotional frenzy – clapping, shouting and cheering.
smailovic從座位上起身，走下走道，馬也離開了舞台。他們展開雙臂熱烈的擁抱彼此。所有在大廳的人陷入一片混亂、瘋狂、拍手、呼吼、歡呼。
At the centre of it all stood these two men, hugging and crying unashamedly…
在中心站著的這兩名男子，擁抱和不能自拔的哭泣......
We were all stripped down to our starkest, deepest humanity at encountering this man who shook his cello in the face of bombs, death and ruin, defying them all.
在遇到這位面對炸彈、死亡和毀滅而搖了搖大提琴的人，我們面對自己最嚴厲、最深切的人性。
演奏完與台下的Vedran Smailovic擁抱，觀眾與兩位大提琴手飆淚。
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| Vedran Smailovic |
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