Khatchaturian: Piano Concerto (Levant)

Cover design by Alex Steinweiss

There was a request for this recording at Buster's blog recently, after he posted some of Oscar Levant's incomparable Gershwin playing. I dug around and found this nice early LP copy, complete with one of Steinweiss' more zany cover designs. This is one of three early recordings listed of Khatchaturian's wild and wacky piano concerto - the others are by Moura Lympany with Fistoulari on English Decca (the first to be issued), and William Kapell with Koussevitzky and the Boston Symphony (Victor). Of these, I find Levant's the most convincing, for he cuts loose more than the others do, playing it with all the zest and panache that he brought to everything he touched:

Khatchaturian: Concerto for Piano and Orchestra (1935)
Oscar Levant with the Philharmonic-Symphony Orchestra of New York
conducted by Dimitri Mitropoulos
Recorded January 3, 1950
Columbia ML-4288, one LP record
Link (FLAC files, 88.45 MB)
Link (MP3 files, 58.03 MB)

This recording was also issued as a 78 set (Columbia MM-905), and I am sorry to say I don't have that, nor have I ever seen it anywhere. It contains, as a filler, Levant's rarest recording, apparently unissued in any other form - Rachmaninoff's Prelude in D Minor, Op. 23, No. 3. It is so rare that it is on the wants list of the International Piano Archives at the University of Maryland - although it would be easy to miss this, since they do not identify it as the filler for this Khatchaturian Concerto. If you have it, they would like to hear from you!

Sibelius: Symphony No. 2 (Barbirolli, 1940)

Jean Sibelius

Sorry for the long absence, but it's become more and more difficult for me to find time to work on this blog. I've spoiled everyone in the past with weekly posts, and now I find that one or two posts a month is the best I can do. Be that as it may, I didn't want to miss the Sibelius sesquicentennial next month (Dec. 8), and here is my little contribution to the celebrations, John Barbirolli's first recording of a Sibelius symphony:

Sibelius: Symphony No. 2 in D Major, Op. 43

New York Philharmonic conducted by John Barbirolli

Recorded May 6, 1940

Columbia Masterworks set MM-423, five 78-rpm records

Link (FLAC files, 99.37 MB)

Link (MP3 files, 66.72 MB)

This was Barbirolli's second Philharmonic session for Columbia; the first had produced this recording of another Second Symphony - that by Brahms.  In between these two sessions, Igor Stravinsky made his first recordings with the Philharmonic, conducting his own "Rite of Spring" and suite from "Petrouchka."

Saint-Saëns: Symphony No. 3 (Munch, New York Philharmonic)

Cover design by Alex Steinweiss

This Saturday, September 26, marks the birth anniversary of the great Alsatian conductor Charles Munch (1891-1968), and so I present the first recording he made in America, in 1947, not with the Boston Symphony (that appointment was to come two years later) but with the New York Philharmonic. It's also the second-only recording made anywhere of Saint-Saëns' "Organ" Symphony (after Piero Coppola's 1930 version for French HMV) - perhaps understandably, it wasn't until the stereo era that the piece became the vehicle for high-powered collaborations between famous organists and conductors that it is now:

Saint-Saëns: Symphony No. 3 in C Minor, Op. 78
Philharmonic-Symphony Orchestra of New York conducted by Charles Munch
Edouard Nies-Berger (organ); Walter Hendl (piano)
Recorded November 10, 1947
Columbia Masterworks set MM-747, four 78-rpm records
Link (FLAC files, 90.03 MB)
Link (MP3 files, 54.40 MB)

Edouard Nies-Berger (1903-2002), born in Munch's hometown of Strasbourg, was a protegé of Albert Schweitzer. He came to the USA in 1922 and was the official organist of the New York Philharmonic at the time this recording was made. Shamefully, Columbia did not even bother to identify his first name, billing him on the cover and labels as "E. Nies-Berger." But that was more information than they gave about the pianist, who was completely uncredited. James North, in his Philharmonic discography, says that Walter Hendl (1917-2007), then the assistant conductor of the orchestra, fulfilled this role.

Brahms: Symphony No. 1 (Rodzinski)

Cover design by Alex Steinweiss

For four years, Artur Rodzinski was the music director of the New York Philharmonic (1943-47), but his recording career with that august organization occupied only two of them - eighteen sessions from December, 1944, to October, 1946. The first of these produced recordings of Tchaikovsky's "Pathétique" Symphony and of Gershwin's "An American in Paris" that were quickly released. The second session, four weeks later, produced this Brahms symphony which, for reasons unknown, had to wait over a year and a half for its issue:

Brahms: Symphony No. 1 in C Minor, Op. 68
Philharmonic-Symphony Orchestra of New York conducted by Artur Rodzinski
Recorded January 8, 1945
Columbia Masterworks set MM-621, five 78-rpm records
Link (FLAC files, 108.62 MB)
Link (MP3 files, 72.20 MB)

This was only the second recording of a Brahms symphony made by the Philharmonic; it was preceded by Barbirolli's 1940 version of the Second. (A complete cycle did follow in the early 1950s, conducted by Bruno Walter.)

Brahms: Symphony No. 2 (Barbirolli)

John Barbirolli, c. 1940

Surely one of the hardest acts to follow in the history of orchestras and their conductors was Toscanini and his ten years as music director of the New York Philharmonic (1926-36). 37-year-old John Barbirolli was chosen for the job, and achieved fine results in the seven years he was there. When he arrived, the orchestra still had a recording contract with Victor, but the company seems to have done little to promote the Philharmonic - perhaps understandably, when they also had Boston, Philadelphia and Toscanini's new orchestra at NBC on the books. When the contract lapsed in 1940 Columbia eagerly signed the orchestra and its young music director, no doubt with an eye to recording it with other conductors in their stable, especially Stravinsky and Bruno Walter. But to Barbirolli, rightfully, went the honor of conducting the Philharmonic's first recording for Columbia, and here it is:

Brahms: Symphony No. 2 in D Major, Op. 73
Philharmonic-Symphony Orchestra of New York
conducted by John Barbirolli
Recorded March 27, 1940
Columbia Masterworks set MM-412, five 78-rpm records
Link (FLAC files, 93.74 MB)
Link (MP3 files, 63.90 MB)

At just over 33 minutes long, this may well be the fastest Brahms Second on record, yet it never sounds rushed.

Vaughan Williams: Symphony No. 4 (Mitropoulos)

"Hold your Hat!" - These were the words inscribed inside the album cover for the first copy I owned of Vaughan Williams conducting his Symphony in F Minor by the 78 set's original owner. An apt description of the work's anger and violence, and also of the composer's 1937 performance, which has never been equaled. The only one I've ever heard that even comes close is the one presented here. This was, I believe, the only Vaughan Williams symphony in Mitropoulos' repertoire, and he had conducted the New York Philharmonic in at least sixteen performances of it, since 1945, at the time this recording was made:

Vaughan Williams: Symphony No. 4 in F minor
New York Philharmonic conducted by Dimitri Mitropoulos
Recorded January 9, 1956
Columbia Masterworks ML-5158, one LP record
Link (FLAC files, 81.06 MB)
Link (MP3 files, 52.73 MB)

Vaughan Williams liked to say that the dissonant opening motto of the Fourth Symphony was "cribbed" from the opening of the finale of Beethoven's Ninth. If that is so, the overall form of the symphony was surely cribbed from that of Beethoven's Fifth, with its motto recurring at strategic points, the similar dimensions of its movements, and even its Scherzo being linked to its Finale by a similar crescendo.

Borodin and Tchaikovsky by Mitropoulos

Cover design by Karl Kezer

Dimitri Mitropoulos, like his Minneapolis predecessor Eugene Ormandy, never disappoints in performances of Russian music.  (My first exposure to Tchaikovsky's Fourth Symphony, almost 40 years ago, was through a blazing Mitropoulos reading on a Columbia 78 set - and oh, how I wish I still had it!)  Here is an LP coupling two Russian masterpieces.  The Borodin Second Symphony was a specialty of Mitropoulos, but the CD reissue companies invariably have tapped his 1941 Minneapolis performance for release, never this New York version which, I believe, deserves attention as well.  The Tchaikovsky First Suite is a rarity as well, and this is only the second recording of it (after Walter Goehr's for Concert Hall, which can be heard here).  Unfortunately the third movement (Intermezzo) is omitted, presumably in the interest of getting the Suite on one side.  What remains is delightful, particularly its final galumphing Gavotte which surely influenced Prokofiev when he came to write his own Gavotte for his "Classical Symphony."

Borodin: Symphony No. 2 in B Minor

Recorded November 2, 1953

and

Tchaikovsky: Suite No. 1 in D Minor, Op. 43

Recorded October 18 and November 17, 1954

Philharmonic-Symphony Orchestra of New York
conducted by Dimitri Mitropoulos

Columbia Masterworks ML-4966, one LP record

Link (FLAC files, 152.15 MB)

Link (MP3 files, 94.15 MB)

Two More American "Thirds"

Cover design by Robert Selnick

I've written in the past about the phenomenon of the Great American Third Symphony, particularly in respect to Copland and Roy Harris, and here on this LP are two more contenders. I confess that I had never heard any of the music of Wallingford Riegger (1885-1961) before I found this record. What little I knew about him - that his mature style was essentially atonal - didn't make me eager to seek him out. I've never particularly cared for atonality, and all the atonal works I like - such as Schoenberg's Pierrot Lunaire and Serenade, and most of Alban Berg's music - I like resolutely in spite of the atonality. Well, I was quite blown away by Riegger's Third Symphony, an atonal work with freshness and great rhythmic vitality, and I'm sorry I took so long to make Riegger's acquaintance. It's astonishing to me that this great symphony has never received a recording subsequent to this Naumberg Foundation-funded one of 1952:

Wallingford Riegger: Symphony No. 3, Op. 42
Eastman-Rochester Symphony Orchestra conducted by Howard Hanson
Recorded April 30, 1952
Side 1 of Columbia Masterworks ML-4902, one LP record
Link (FLAC files, 71.62 MB)
Link (MP3 files, 44.13 MB)

Quite unusual repertoire, too, for Howard Hanson to conduct - he tended to favor more conservative styles among his numerous recordings of American works. But his advocacy for Riegger is quite persuasive in this, one of his few Columbia recordings with the Eastman orchestra. By the time it was released in 1955, he was already a fixture at Mercury, and I suspect that the issue was delayed because there was nothing else "in the can" conducted by Hanson to pair it with. The Mennin symphony, conducted by Mitropoulos, was recorded two years later:

Peter Mennin: Symphony No. 3 (1946)
New York Philharmonic conducted by Dimitri Mitropoulos
Recorded February 1, 1954
Side 2 of Columbia Masterworks ML-4902, one LP record
Link (FLAC files, 63.24 MB)
Link (MP3 files, 38.04 MB)

I'm sorry to say that I can't summon as much enthusiasm for this work as for the Riegger, although I recognize the importance of Peter Mennin (1923-1989) as a symphonist (he was another in that long list of those who wrote nine, although I think he suppressed the first one). But I hear too many echoes of Vaughan Williams' inimitable Fourth Symphony in Mennin's first movement for comfort. Still, it's good solid music, quite impressive for a 23-year-old youngster, and of course it gets a superb performance from Mitropoulos and his orchestra.

Both of these recordings were reissued around 1970 by Composers Recordings, Inc., but unfortunately with fake stereo effect added. I would hope that they removed this for the CD reissues they made, but it's a moot point in any case, since CRI went bankrupt some ten years ago.

Stokowski and Vaughan Williams

Ralph Vaughan Williams and Leopold Stokowski, 1957

Thursday will mark the 131st anniversary of the birth of Leopold Stokowski, and so I present his only commercial recording of a Vaughan Williams symphony - his Sixth - which also happens to be the only non-British première recording of a Vaughan Williams symphony.  No doubt this latter circumstance was quite by accident, for a competing version, Boult's on HMV (which can be heard at the CHARM website), was made a mere two days later!  Stokowski's version is very exciting, and may be the fastest on record of this great symphony.  (For an appreciation of Stokowski's performances of Vaughan Williams, see this article by Edward Johnson at Larry Huffman's amazing site, www.stokowski.org - from which the above picture has been borrowed.)  As a bonus, a ravishing but slightly abridged version of the Fantasia on "Greensleeves," issued only on 78 at the time, is included:

Vaughan Williams: Symphony No. 6 in E Minor and Fantasia on "Greensleeves"
New York Philharmonic conducted by Leopold Stokowski
Recorded February 21, 1949
Columbia Masterworks set MM-838, four 78-rpm records
Link (FLAC files, 82.47 MB)
Link (MP3 files, 43.08 MB)

Another important conductor anniversary on the horizon is that of Albert Coates, who was born five days after Stokowski.  In 2009 I first offered his recording of a Bach organ toccata, orchestrated by Heinrich Esser.  A few weeks ago I decided to use a different stylus to make a new transfer, the original one being afflicted by a swish towards the end.  I think this one sounds a little better:

Bach: Toccata in F, BWV 540 (orch. Esser)
London Symphony Orchestra conducted by Albert Coates
Recorded February 18, 1932
Victor 11468, one 78-rpm record
Link (FLAC file, 24.70 MB)
Link (MP3 file, 9.35 MB)

The links at the original post have also been updated.

Mozart: Jupiter Symphony (Bruno Walter, 1945)

Cover design by Alex Steinweiss
(restored by Peter Joelson)

In honor of Mozart's 257th birthday tomorrow, here's one of the rarer recordings of the "Jupiter" Symphony, the second of four that Bruno Walter was to make, and the first of two with the New York Philharmonic.  At the time of its issue, its competition would have been included Beecham on Columbia, as well as Walter's earlier recording with the Vienna Philharmonic on Victor.  Two years later came Toscanini's version on Victor.  All three of the competing sets turn up rather more frequently than this one does:

Mozart: Symphony No. 41 in C Major, K. 551 ("Jupiter")

and

Mozart: Cosi fan tutte, K. 588 - Overture

Philharmonic-Symphony Orchestra of New York conducted by Bruno Walter

Recorded January 23, 1945

Columbia Masterworks set MM-565, four 78-rpm records

Link (FLAC files, 81.42 MB)

Link (MP3 files, 44.18 MB)

Schubert "Great C Major" (Bruno Walter, 1946)

Cover design by Alex Steinweiss
(restored by Peter Joelson)

Today I present a recording that is very dear to me, as it was my introduction not only to this wonderful symphony, but the very first set of 78s I ever bought (or, more accurately, that was bought for me, by my grandmother, for $8.49 plus tax) at Clark Music, the wonderful music store that I wrote about in this post.  I was all of 10 years old, that fall of 1973, when I discovered the place, and of the twenty or twenty-five classical album sets in mint condition there that had remained unsold since the late 1940s, this one beckoned to me, mainly because I knew Schubert to be a Great Composer - I don't think I had even heard of most of the other composers represented in that motley collection - and moreover, it was a great big Symphony on six records!  Such is a child's reasoning.  Of course, this isn't the same copy as that one.  I wore that one out within two or three years, eventually obtaining another to replace it, which was sold off along with most of my 78s eight years ago.  This copy came to me courtesy of Ken Halperin of Collecting Record Covers:

Schubert: Symphony No. 9 in C Major, D. 944 ("The Great")
Philharmonic-Symphony Orchestra of New York conducted by Bruno Walter
Recorded April 22, 1946
Columbia Masterworks set MM-679, six 78-rpm records
Link (FLAC files, 124.35 MB)
Link (MP3 files, 64.3 MB)

Bruno Walter, it seems to me, came closer to the essence of this symphony than anyone else, and I don't think I'm saying that merely because I "learned" the work through this recording.  This is the second of his three recordings of it - the first was in 1938, with the London Symphony for HMV, and the last was in 1959, with his California-based, eponymous Columbia Symphony Orchestra.

Bernstein: Age of Anxiety (Original Version)

Cover design by Darrill Connelly

About a month ago, I treated myself to the Leonard Bernstein Symphony Edition, a 60-CD set containing 110 symphonies that he recorded for Columbia from the 1950s through the 1970s.  Among these, of course, were his own three - Jeremiah, The Age of Anxiety (based on W. H. Auden's poem of the same name), and Kaddish.  It occurred to me, as I listened to the second of these - for me, the finest of the three, and one of his finest works altogether - that I had long harbored a mono LP of the same work (the version in the CD set is the stereo remake, featuring Philippe Entremont at the piano), and that the older recording represented the only extant one of the original version of the score.  In 1965 Bernstein, while preparing the replacement recording, decided to revise the finale of the symphony, which originally had limited the piano's role to a single chord at the end.  He had come to feel that this didn't so much convey the intended detachment in Auden's poem as rob the piano of its concertante function, so the revision incorporates the piano into the scoring and even provides a cadenza.  No doubt Bernstein was right, but it is still, I think, valuable to be able to hear his original intentions as represented by the earlier recording:

Bernstein: The Age of Anxiety (Symphony No. 2, after W. H. Auden)
Philharmonic-Symphony Orchestra of New York
conducted by Leonard Bernstein, with Lukas Foss, piano
Recorded February 27, 1950
Columbia ML-4325, one 12-inch LP record
Link (FLAC files, 82.57 MB)
Link (MP3 files, 41.18 MB)

Shostakovich: Tenth Symphony (Mitropoulos)

Cover photograph by Howard Zieff

Today I present the first recording made in the West of one of Shostakovich's greatest symphonies, the Tenth, by the great Dimitri Mitropoulos (1896-1960).  And it remains one of the most searingly intense, with the fastest second movement on record.  Mitropoulos would, of course, have had no way of knowing that this movement was Shostakovich's musical portrait of Stalin (as the composer admitted in his memoirs), and more's the wonder, for the performance blazes with rage like no other I've heard.  The third movement, which has always seemed to me like Shostakovich's own self-portrait (that D-S-C-H motto!), is also on the brisk side, and gains a special urgency thereby.

Shostakovich: Symphony No. 10 in E minor, Op. 93
Philharmonic-Symphony Orchestra of N.Y. conducted by Dimitri Mitropoulos
Recorded October 18, 1954
Columbia Masterworks ML-4959, one 12-inch LP record
Link (FLAC files, 132.27 MB)
Link (MP3 files, 63.92)

I can't pass up the opportunity to comment on the rather startling cover for this LP (pictured above).  Charles Burr, in his liner note for ML-4959 (which is for the most part a long essay about the relationship of the Soviet composer to the Soviet government), says of the conclusion of the symphony that "there is an escape from tragedy back into the happiness of childhood, for it is only childhood that permits the dwelling once again in personal, non-political emotions." And yet the cover photograph displays a kid who doesn't look very happy to me! while behind him a faceless figure - obviously one of authority - stands in a displeased pose with arms crossed.  If this isn't a metaphor for the relationship of the composer to the state, I don't know what is.  This photograph was taken by Howard Zieff, later to become a film director, whose credits in that arena include "My Girl" and "Private Benjamin."

Casadesus: Two Early Concerto Recordings

One of my all-time favorite pianists, the Frenchman Robert Casadesus (1899-1972) (pictured above in characteristic pose with pipe in mouth) is the subject of today's post.  Heir to a musical family - his uncles, Henri and Marius, were founding members of the Société des Instruments Anciens which pioneered in the use of historical stringed instruments - he remains unsurpassed to this day as an interpreter of the music of his friend Ravel, and I grew up on his wonderful recordings of Mozart concerti with George Szell conducting.  Here are two early concerto recordings by Robert Casadesus, the Weber work being a recorded première:

Weber: Konzertstück in F minor, Op. 79, for piano and orchestra
Robert Casadesus with orchestra conducted by Eugène Bigot
Recorded June 6, 1935
Columbia Masterworks set MX-59, two 78-rpm records
Link (FLAC file, 36.69 MB)
Link (MP3 file, 18.69 MB)

Saint-Saëns: Piano Concerto No. 4 in C minor, Op. 44
Robert Casadesus with the Philharmonic-Symphony Orchestra of New York
conducted by Artur Rodzinski
Recorded February 5, 1945
Columbia Masterworks set MM-566, three 78-rpm records
Link (FLAC files, 62.6 MB)
Link (MP3 files, 32.91 MB)

Cover by Alex Steinweiss

My thanks again to Ken Halperin of Collecting Record Covers for supplying me with the Saint-Saëns set.

For those interested in Robert Casadesus, there's a wonderful website, with a complete discography, contributed to by (among others) members of the Casadesus family.

"Glorious John"

Sir John Barbirolli and Ralph Vaughan Williams on the occasion of the première of the latter's Sinfonia Antartica, 1953

"Glorious John" - that was Ralph Vaughan Williams' nickname, and subsequently everybody else's, for Sir John Barbirolli (1899-1970), and it comes from the inscription on the score of Vaughan Williams' Eighth Symphony - "for glorious John, with love and admiration from Ralph."  Barbirolli also received the dedication of Vaughan Williams' previous symphony, the Sinfonia Antartica.  Well, here's the first recording by "Glorious John" of a Vaughan Williams symphony, made a decade before these dedications, exactly sixty-eight years ago today (I didn't plan it that way, either!):

Vaughan Williams: Symphony No. 5 in D Major
Hallé Orchestra conducted by John Barbirolli
Recorded February 17, 1944
HMV C 7599 through C 7603, five 78-rpm records
Link (FLAC files, 96.06 MB)
Link (MP3 files, 41.13 MB)

This was Barbirolli's second-ever recording with the Hallé Orchestra (the first was of Bax's Third Symphony), of which he had assumed control beginning with the 1943-44 season, having returned to England fron New York.  There, as director of the Philharmonic-Symphony, he had had a rocky relationship with the music critics, who constantly compared him unfavorably with Toscanini, whom he had succeeded as the Philharmonic's music director.  While in New York, however, Barbirolli had made some important recordings, first for Victor and then for Columbia, including symphonies by Sibelius (the First and Second), Schubert (the Fourth) and this brisk, bracing account of Mozart's "little G minor" symphony:

Mozart: Symphony No. 25 in G minor, K. 183
Philharmonic-Symphony Orchestra of New York conducted by John Barbirolli
Recorded November 3, 1941
Columbia Masterworks set MX-217, two 78-rpm records
Link (FLAC files, 53.51 MB)
Link (MP3 files, 32.51 MB)

Happy Birthday, Dmitri Shostakovich!

One of my all-time favorite composers, Dmitri Shostakovich, was born 104 years ago this Saturday, on September 25, 1906.  To celebrate, I present two early recordings of his music, including one that might very well be the earliest.  This is of two excerpts from his 1929 ballet, "The Golden Age" - the Polka and Russian Dance.  It was recorded in the early 1930's for Pathé (issued by Columbia in the US and Britain) by the Orchestre Symphonique de Paris under Julius Ehrlich - the exact recording date is unknown.  The other contender for the title of "First Shostakovich Recording" would be Stokowski's November 1933 account of the First Symphony, with the Philadelphia Orchestra, which has been reissued on CD by Pearl.  Both recordings were reviewed in the September 1934 issue of Gramophone Magazine, which I would love to be able to link to, but, maddeningly, this review does not appear to have been scanned into Gramophone's archive, nor do PDF scans of the actual pages appear to be downloadable as in the past.  (Fortunately, about a year ago, I did get to download PDF scans of a number of Columbia ads from the magazine, including one that advertises this Ehrlich recording, and have included it in the ZIP file at the link below.)  The record of "Golden Age" excerpts was one of a pair designed to show how "far-out" the music from Bolshevik Russia had become.  The other record features orchestral music that graphically illustrates the noise made by machinery - Mossolov's "Steel Foundry" and Meytuss' "Dnieper Water Power Station."  The whole package was called, in its American release, "Strange Music of the Modern Russian School" - a hilarious title, I think!  Here are the links for this set:

"Modern Russian Music"
Orchestre Symphonique de Paris conducted by Julius Ehrlich
Columbia Masterworks set M-347, two 10-inch 78-rpm records
Link (FLAC files, 27.12 MB)
Link (MP3 files, 12.81 MB)

The other Shostakovich recording I present is of the Ninth Symphony of 1945, for me one of the most delightful of his fifteen symphonies.  This is only the second recording made of it, by the New York Philharmonic (or, as it was called in those days, the "Philharmonic-Symphony Orchestra of New York") conducted by Russian-born Efrem Kurtz (1900-1995).  It's a fine one, marred only by the extremely slow tempo that he takes for the second movement, probably resulting from an incorrect metronome marking in the earliest scores of the symphony published in America.  It was released at the same time as the first recording, by Koussevitzky and the Boston Symphony (currently available on a Biddulph CD).  I've also included, as a bonus, a transfer of a single record by Kurtz and the New York Philharmonic, of a Shostakovich Waltz and a Prokofiev March:

Shostakovich: Symphony No. 9, Op. 70; Waltz from "The Golden Mountains"
Prokofiev: March, Op. 99*
Philharmonic-Symphony Orchestra of New York conducted by Efrem Kurtz
Recorded April 8, 1947, and *April 20, 1946
Columbia Masterworks set MM-688, four 78-rpm records and
Columbia Masterworks 12881-D, one 78-rpm record
Link (FLAC files, 82.33 MB)
Link (MP3 files, 41.48 MB)

Below I reproduce the cover art for the 78-rpm album of the Shostakovich Ninth (thanks to Buster, Joe and others for the advice on how to do scans of large record covers!).  It's by the inimitable Alex Steinweiss, Columbia's art director during the 40s.  Note the stick figures in the background: there are nine of them, to match the fact that it's a "Symphony No. 9" - a typical Steinweissism.