19世纪末,一批德国移民把交响乐介绍到美国。在德国出生的西奥多·托马斯率领以他的名字命名的乐团在美国巡回演出,在介绍交响乐方面作出了杰出的贡献。后来他担任芝加哥爱乐乐团的指挥,成为美国音乐界的泰斗。将近一个世纪过去了,世事变迁,但德国指挥家在乐坛仍然居于重要的领导地位。他们不仅长期控制了欧洲乐坛,而且再次在美国乐坛建立了自己的权力基础。纽约市的乐坛由莱比锡的库特·马苏尔说了算,克利夫兰则由汉堡的克利斯托夫·冯·多赫纳尼摆布,体斯顿属于汉堡的克里斯托夫·埃申巴赫的势力范围,而费城的乐坛将在今年晚些时候由慕尼黑的沃尔夫冈·扎瓦利施执掌。德国音乐家在美国乐坛影响如此之大,为什么?难道他们天生就比美国音乐家强?或者是因为欧洲人的某些文化传统使他们更适合向虔诚的美国听众揭示管弦乐的奥妙?也许是日尔曼语音、贝多芬式的长头发和普鲁士的严谨作风,反正是某种东西,使美国人感到不可抗拒。在过去100年里,在美国主要乐团担任指挥的德国人有阿瑟· At the end of the 19th century, a group of German immigrants introduced the symphony to the United States. Theodore Thomas, born in Germany, led the orchestra named after him on a tour in the United States and made outstanding contributions in introducing symphony. Later, he served as conductor of the Chicago Philharmonic Orchestra and became a leading American music industry. Nearly a century has passed and things have changed. However, German conductors still occupy an important leading position in the music industry. They not only have long dominated the European music scene, but have once again established their own power base in the American music scene. New York City’s music scene has been taken care of by Kurt Masur in Leipzig, while Cleveland at the mercy of Christoph von Dohnerney in Hamburg, who belongs to Hamburg’s Christophe Eschenbach’s Sphere of influence, while Philadelphia’s music scene will be run by Wolfgang Zawalisheim of Munich later this year. German musicians are so influential in the American music scene, why? Are they inherently stronger than American musicians or because European cultural traditions make them better suited to reveal the mystery of orchestras to devout American listeners? Perhaps the day Irish voice, Beethoven-style long hair and Prussian rigorous style, anyway, is something that Americans feel irresistible. For the past 100 years there have been Arthur Germans as conductors of major American orchestras