Kirch -> Saal

Many many domos for shedding light on my query, K sama and T-Yo sama. How satisfying it feels when I get an asnwer, a good one that is, when I have a question !!

It seems that it's fair to say that they (or more probably he) had waited for 10 years to get their sound right at the Saal for the recording, and the change of the flight route just gave the signal at the opportunate timing.

I agree that Kirch sound gives a feeling of 'warmth', in that it tends to be less analytical compared to the sound at the Saal, and Saal sound certainly gives us more detailed (and perhaps cleaner) sound stage.

Maybe it's meaningless to assume or argue anything about the history, since Karajan made a decision at the time, and how many great recordings we have during the Saal period ! But it certainly is interesting to note the characteristics of the recording venue, and I find myself wishing the same thing with T san that what if Karajan's later peoriod digital recordings were made at the Kirch ...


Since I get an answer here, one more question, please !
Could you advise what kind of book is the following ?

"ISBN : 2221006119
Dewey : 780/.92/4 B 19
LCCN : ML429.G46 A3 1981
Volume Details:
237 p. ; 22 cm.

Title:
Raevaeler les dieux / Michel Glotz ; lettre-praeface de Herbert von Karajan.

Glotz, Michel.

Un Homme et son maetier"

I'm afraid French is a complete Greek to me, and have no idea what kind of book this is. I think many will agree that unless Karajan wrote a diary of his own, Glotz would be the only person on earth who can tell what Karajan 'really' thought, or meant. And my another guess is that even if DG's or EMI's engineers probably knew better about the KHz or decibels, it was Glotz who put the right 'Stimmung' or nuance into the Karajan's recordings, as Karajan wanted (though I'll have to look up Osborne's book again to see when exactly this happened).

Many domos for the stimulating and interesting thoughts !

Cheers,

Kidon Sull