[a] Felix Weingartner made five acoustic sides in New York with the soprano Lucille Marcel (the third of his five marriages)[3] Only one take was subsequently issued, "Ave Maria" from Verdi's Otello on Columbia US A-5482, matrix number 36622.

The other unissued takes included two of Weingartner's own songs, "Vergangenheit" and "Welke Rose", Schumann's "Die Lotosblume", op.

[6][b] The composer and conductor Robert Hood Bowers made around 15 double-sided 78 rpm recordings with the orchestra in September 1927.

[8] During a recording session in March 1932 with Weingartner and the British Symphony Orchestra in London's Westminster Central Hall, a single unissued take was made of the Waltz from Leo Delibes' ballet Naïla, although the conductor is unnamed.

[10] Howard D. Barlow (May 1, 1892 – January 31, 1972)[11] made a recording of Deems Taylor's suite Through the Looking Glass[12] with the Columbia Symphony Orchestra in New York in November 1938.

In 1972 he was cited with an Emmy Award for conducting the orchestra in the television premier of Ezra Laderman's opera And David Wept.

Later reissued by Sony on CD, the recordings include Dance of the Hours from the opera La Gioconda by Amilcare Ponchielli, the overture to The Merry Wives of Windsor by Otto Nicolai, Carmen Suite by Georges Bizet, and Capriccio Italien by Peter Tchaikovsky.

In addition, Bernstein also joined forces with the orchestra in collaboration with Glenn Gould in a performance of Ludwig van Beethoven's Piano Concerto No.

[25] In the early 1960s, the composer Aaron Copland joined forces with the swing clarinetist Benny Goodman and the concert bass-baritone William Warfield to record his Clarinet Concerto along with his arrangement of "Old American Songs" in collaboration with the Columbia Symphony Orchestra.

Vladimir Golschmann also collaborated with the Columbia Symphony Orchestra in several historic recordings with the young pianist Glenn Gould.

[27] Alexander Schneider paired with Rudolf Serkin and the Columbia Symphony Orchestra during the 1950s in a recording of Wolfgang Amadeus Mozart's: Piano Concerto No.

[35] The composer Bernard Herrmann conducted the orchestra for some broadcasts, especially The Mercury Theatre on the Air and The Campbell Playhouse programs presented by Orson Welles.

[38] Included among the noted collaborators were such operatic luminaries as: Eileen Farrell, Lily Pons, Paul Robeson and Richard Tucker under the direction of several conductors including: Alfredo Antonini, Emanuel Balaban, Howard Barlow, Bernard Herrmann, Andre Kostelanetz, Charles Lichter and Alexander Semmler.