Charles Ives’ four symphonies chart his compositional career from student to mature maverick. His First Symphony sticks to academic rules of form and harmony (more or less). Despite an overlong finale, its vigorous counterpoint keeps it moving. Familiar Ivesian fingerprints appear in the Second (quotations from patriotic songs, et cetera), but it is not until the glaringly dissonant last chord that Ives decisively throws down the gauntlet. No. 3, “ The Camp Meeting”, is one of the composer’s most mellow, nostalgic pieces, redolent with hymn-like harmonies and string textures.