The examples of recordings of concerted works with soloist which are exceptions to this pattern  of avoiding the concerto are each interesting.  First is the series of famous recordings of Rachmaninoff piano works: the 1924 and 1929 recordings of the Second Piano Concerto and the 1934 recording of the "Rhapsody on a Theme of Paganini".   These are recordings with not just a soloist, but with the composer, who also is one of the great pianists of the age.  Stokowski could feel open to share the interpretation with the composer of the work.

       Rachmaninoff in the 1920s

Rachmaninoff and Stokowski Disagree on Interpretation

However, even in the case of Rachmaninoff, Stokowski resisted the composers suggestions regarding performance.  They had disagreements about the 1924 recording of the Second Piano concerto.  in 1930, Time Magazine reported "...In the 18 years he has been in Philadelphia, Stokowski has stayed just that - young, energetic, pliable. There have been changes in the man himself...From a simple, naive person he has changed to one who is autocratic, imperiously sure of his countless opinions on acoustics, lighting, radio, printing, painting, the habit of applause. At a recent rehearsal he and Pianist Sergei Rachmaninoff almost came to blows over the tempo of a Rachmaninoff concerto concerning which Stokowski felt he knew better than the composer. Indicative, too, is the feeling of his men, changed now from one of adoration to respect. ... Stokowski has permitted himself to develop prima donna tendencies but the public at large continues to encourage them..."³

Listening to the 1929 performance, I would suppose, but without any source, that Stokowski was more inclined to savor the opulence of the music, while Rachmaninoff inclined to a more rapid pace.  Although this Time Magazine account may well be exaggerated, it does reflect that even with Rachmaninoff as soloist, Stokowski may have felt that he "knew best".  (click here to read about and listen to the 1929 Stokowski - Rachmaninoff Piano Concerto no 2.)

Another famous concerto example is the Christmas eve December 24, 1934 recording of the Sibelius Violin Concerto with Jascha Heifetz.  This recording, although a fiery performance by both Heifetz and Stokowski was not released until a single copy was used in the 1999 Philadelphia Orchestra, The Centennial Collection CD release, overseen by Mark Obert-Thorn, with musical restoration by Ward Marston. 

In his program notes to this recording, Barrymore Laurence Scherer said "...According to Ward Marston, who learned of this from a member of the Orchestra who played in the session, Heifetz at one point asked Stokowski to have the violins play more softly in a particular passage in order to lend greater definition to the solo line.  Stokowski - who loved manipulating the knops of a recording console almost as much as conducting itself - felt this request an intrusion upon his prerogative to balance the sound.  Therefore, in a gesture rather foreign to the Christmas spirit, he addressed the Orchestra saying 'Everyone else, play louder.  Violins, you stay the same.'  Understandably, Heifetz was not amused, and he subsequently refused to approve the finished recording for release."⁴   Is this a further example of Stokowski's desire to control?

Jascha Heifetz in a well known 1935 Alfred Eisenstaedt photograph

A third example of a concerted work recorded by Stokowski and the Philadelphia Orchestra is the Mozart Sinfonia Concertante recording of 1940.  Of course, this recording was by the first chair soloists of the Philadelphia Orchestra.  It also broke the twenty year lack of a record of a work by Mozart.

Beyond a very few examples of instrumental soloists, there were many recordings with vocal soloists.  However, in this case, it was a practice of Stokowski to personally coach the singer in advance.  Examples of this were several of Stokowski's favorites, such as Rose Bampton, a Curtis Institute student that Stokowski included in several recordings.  Also listen to the interview with Jennie Tourel in Interviews - Leopold Stokowski as to her work with Stokowski.  In such cases, perhaps the vocal soloist was more in the category of the first chair instrumentalists in the Mozart Sinfonia Concertante under Stokowski's direction, rather than a strong, independent artist such as Heifetz, seeking to share the interpretive decisions with Stokowski.