His later recordings (starting with Bizet's "Carmen" in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia label. Notable exceptions include recordings of Gustav Mahler's "Song of the Earth" and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic for Decca Records (1966); Berlioz's "Symphonie fantastique" and "Harold in Italy" (1976) for EMI; and Wagner's "Tristan und Isolde" (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s.