In any case, well before the finale's coda, Litton has made this recording of the Second Symphony the new standard by which others should be judged, and that includes Bernstein (both times). He milks the music's romantic side--the first and third movements--with unashamed emotionalism, and this makes the humor of the quick bits all the more telling. You won't hear a more insouciant account of the finale anywhere, while the second movement has a real spring to its step--its final bars are simply hilarious, less outrageous than the symphony's ending, but no less surprising in their own way. Litton's sweetly sentimental take on the lyrical second subject (based on the tune "Where Oh Where Are the Pea-Green Freshmen?") also bucks current orthodoxy, which has the melody played in tempo (Nashville on Naxos)--but once again it makes good musical sense.

The Third Symphony isn't as easy to play as it sounds, and Litton not only captures the music's flow to perfection, he gives the small wind and brass complement plenty of opportunity to shine, albeit sensitively. The march rhythms in the second movement skip along winningly (these are marching children, remember), and the slow finale's last bars feature beautifully judged bell sounds over their final, fading chords. As with the disc containing the First and Fourth Symphonies, the encore is unusual and very welcome. General William Booth Enters Into Heaven is one of Ives' very greatest songs, and it receives a rousing performance by Donnie Ray Albert and the Dallas Symphony Chorus. Finally, the engineering is rich, clear, and vibrant. A major achievement, no doubt about it. [10/25/2006]