Editing John Barbirolli (section)

===1943 and later===
Within six months of his return to Britain in 1943, Barbirolli resumed his contract with HMV, conducting the Hallé in the [[Symphony No. 3 (Bax)|Third]] Symphony of Bax and the [[Symphony No. 5 (Vaughan Williams)|Fifth]] of Vaughan Williams, followed by works by a wide range of composers from [[Corelli]] to Stravinsky.<ref>Kennedy (1971), pp. 362–372</ref> In 1955 he signed a contract with [[Pye Records]], with whom he and the Hallé recorded a wide repertoire, and made their first stereophonic recordings. These records were distributed in the US by [[Vanguard Records]]. A company was formed, named Pye-Barbirolli, of which he was a director: the arrangement was designed to ensure an equal partnership between the company and the musicians.<ref>"Pye-Barbirolli", ''The Gramophone'', July 1956, p. 40</ref> They made many recordings, including symphonies by Beethoven, Dvořák, Elgar, Mozart, [[Carl Nielsen|Nielsen]], Sibelius, Mahler, Tchaikovsky and Vaughan Williams, as well as a few concertos, short orchestral pieces and operatic excerpts.<ref>Kennedy (1971), pp. 373–384</ref>

In 1962, HMV persuaded Barbirolli to return.<ref name=bicknell/> With the Hallé he recorded a Sibelius symphony cycle, Elgar's Second Symphony, ''[[Falstaff (Elgar)|Falstaff]]'' and ''The Dream of Gerontius'', Schubert's [[Symphony No. 9 (Schubert)|Ninth Symphony]], Vaughan Williams's ''[[A London Symphony]]'', and works by [[Grieg]] and Delius. With other orchestras, Barbirolli recorded a wide range of his repertoire, including many recordings still in the catalogues in 2025. Of these, his Elgar recordings include the Cello Concerto with [[Jacqueline du Pré]], ''Sea Pictures'' with [[Janet Baker]], and orchestral music including the First Symphony, ''[[Enigma Variations]]'' and many of the shorter works. His Mahler recordings include the [[Symphony No. 5 (Mahler)|Fifth]] and [[Symphony No. 6 (Mahler)|Sixth]] Symphonies (with the New Philharmonia) and Ninth Symphony (with the Berlin Philharmonic). With the [[Vienna Philharmonic]], he recorded a Brahms symphony cycle, and with Daniel Barenboim, the two Brahms Piano Concertos. He made three operatic sets for HMV: Purcell's ''[[Dido and Aeneas]]'' with [[Victoria de los Ángeles]] (1966),<ref>Robertson, Alec, "Dido and Aeneas", ''The Gramophone'', October 1966, p. 77</ref> Verdi's ''Otello'' with [[James McCracken]], [[Gwyneth Jones (soprano)|Gwyneth Jones]] and [[Dietrich Fischer-Dieskau]] (1969),<ref>Blyth, Alan, "Verdi: Otello", ''The Gramophone'', October 1969, p. 97</ref> and a set of ''Madama Butterfly'' with [[Renata Scotto]], [[Carlo Bergonzi (tenor)|Carlo Bergonzi]] and Rome Opera forces that has remained in the catalogues since its first issue in 1967.<ref>Anderson, Robert Kinloch, "Barbirolli's Roman Butterfly", ''The Gramophone'', September 1967, p. 25; Oliver, Michael, "Madama Butterfly", ''Gramophone'', May 1989, p. 90; and O'Connor, Patrick, "Madama Butterfly", ''Gramophone'', March 2009, p. 93</ref> The impact of the last was such that the head of the Rome Opera invited him to come and conduct "any opera you care to name with as much rehearsal as you wish."<ref name=bicknell/> HMV planned to record ''Die Meistersinger'' with Barbirolli in [[Dresden]] in 1970, but following the [[Warsaw Pact invasion of Czechoslovakia]] in 1968 he refused to conduct in the Soviet bloc, and his place was taken by [[Herbert von Karajan]].<ref>Kennedy (1971), pp. 306–307, and "Opera: Wagner", ''The Gramophone'', October 1971, p. 102</ref>