Symphony No.3 in B flat major "The Camp Meeting" - Charles Ives

Northern Sinfonia conducted by James Sinclair.

I - Old Folks Gatherin'. Andante maestoso - Andante con moto - Slower - Adagio cantabile - Più mosso - Andante con moto - Adagio cantabile: 0:00
II - Children's Day. Allegro moderato - Più allegro - Alla marcia - Allegro moderato (Tempo I) - Meno allegro - Maestoso: 7:18
III - Communion. Largo - Con moto - Più animando - A tempo: 13:54

Ives' Symphony No.3 was composed mostly around 1904-11, being assembled after a trio of previous organ works written for services at Central Presbyterian Church in New York City in 1901-1902. It wasn't premiered until April 5 of 1946, performed by the New York Little Symphony conducted by Lou Harrison. Ives was awarded a Pulitzer prize for the work in 1947, and apparently gave half the money away away to Lou Harrison and the rest to New Music Edition and Arrow Press.

Camp meetings were relics of the early nineteenth-century American religious movement “The Great Awakening.” Rural farmers and townsfolk would gather together at a central location to sing, pray and hear circuit preachers sermonize for several days at camps. In an era when the United States was far less developed and densely populated, camp meetings were opportunities for isolated families and communities to worship and socialize together. Ives witnessed one of the last great camp meetings at Redding, Connecticut in 1878.

The first movement was based on an prelude for organ. It begins with a lyrical and contained main theme, derived from the hymn "Azmon" (also known as "O For a Thousand Tongues to Sing"), it is followed by "Erie" ("What a Friend We Have in Jesus") and Woodworth ("Just As I Am"). These materials are then intertwined and developed extensively. Ives also uses his surprisingly curious technique known as "shadow lines": very soft, chromatic phrases played by one or two instruments in the background of a melody. After a brief recapitulation another development begins, culminating in a climax. A peaceful and lyrical coda ends the movement.

The second movement was built on a postlude for organ. It opens with a playful main theme, derived from the hymn tunes "Fountain" ("There is a Fountain Filled with Blood") and "Naomi", weaving into one another in a somewhat tongue-in-cheek manner, and using parts of tunes to imitate the sound of other hymns. A contrasting "trio" begins with the reapareance of "Erie" and the new tune "Happy Land" ("There is a Happy Land"). The main material is then recapitulated, followed by a brief but vivacious new development. After a strong climax, the movement concludes with a calm coda.

The third movement was derived from a communion piece for organ. It begins with a meditative theme derived from the hymns "Woodworth" and "Azmon", the first one being specially prevalent. Follows a more obscure but expressive development, with "shadow lines" being present as well. The music turns more active and flowing, leading to a restrained climax, followed by a more chromatic and dissonant one. The opening materials are then recapitulated. A peaceful coda ends the work, featuring the chimes of the church bells in the distance.

Picture: "Boy and Girl in a Field with Sheep" (1877-8) by the American painter Winslow Homer.

Sources: https://bit.ly/39mkCQB, https://bit.ly/3rRaRAf, https://bit.ly/3LkeDd4 and https://bit.ly/38qlymb