Here are a a few precisions or corrections on some factual details.
Walter’s 1961 recording is not the first stereo version as Duggan claims, but the second. The first, which he doesn't review, was by Leopold Ludwig on Everest, made in November 1959. It was reissued on CD in the mid-1990s in the famed and sadly short-lived Everest CD-series. It is a version I enjoyed very much and find unjustly neglected. Its fiery Rondo-Burleske is especially noteworthy, almost on a par with Walter's 1938 Vienna account.
In his great Mahler discography (1995 edition - I don't yet have the recent updated edition), Peter Fülöp dates Horenstein’s Vox recording from June 1952. I don’t know what is his source for that claim, but I am inclined to believe him.
Incidentally, I find Duggan's attempt to oppose Klemperer and Walter, on the basis of Klemp's famous comment that he was an immoralist and Walter a moralist, ill-founded, at least as far as concerns their respective interpretation of the 9th. On the contrary, I find that they have much in common, and specifically the downplaying in the first movement of the contrasts of tempo, the adoption of a steady "allegro moderato" with very few or minimal accelerations when Mahler calls for them ("fliessend", "allegro", "mit wut", "etwas drängend"...) made up by the punch (Walter) and massive power (Klemperer). Whatever their differences, they shared one thing: they were both old men nearing death when they made their respective recording (Walter was 85 and Klemperer 81), and that strongly shaped their vision: not so much a case of the body not able any more to convey what the mind conceived, as of a mind turned unresponsive to these brusque Mahlerian shifts and surges of passion. For those, go to Barbirolli or (another version not surveyed by Duggan but which I find great) Kondrashin (his 1964 recording reissued by Melodiya - I haven't heard the live 1967 version from Tokyo on Altus).
Thank you for taking part in the MusicWeb International Forum.
Len Mullenger - Founder of MusicWeb