The Copland 3rd with Dorati features cuts. I have recordings of 3 performances which feature more music. Broadcast recordings with George Szell and the New York Philharmonic and Peter Bay and the Rochester Philharmonic are, I believe, of the version of the score as first prepared for publication by Copland. An in-house recording with the Boston Symphony and Koussevitzky (now available on Pristine) features a cut of two measures. You can read about the cuts Koussevitzky made in the dissertation of Elizabeth Crist. 
Perhaps someone on this list might have a copy of Allegro-Royale 1513 which features the Copland 3rd with the Berlin Symphony conducted by Gerd Rubahn. I have never seen the record and am most interested in hearing it. I wondered if it might be a pirate of the Dorati.
I believe Boosey (who publishes the work) has now restored the missing measures in its published version of the score. As I recall, the first edition of the score had just about everything...the second edition, cuts and now, there is a restored version. How restored it is, I do not know, but Crist would know.
On the subject of "complete" versions of the best known American Symphonies, there is one concert performance of the Schuman 3rd with Slatkin and the National Symphony which restores the cuts in that work. From my perspective, those cuts should never have been made. The first performance of the work (with Koussevitzky) was given with cuts. Also, the Harris 3rd is usually done with cuts.  These cuts were done at the suggestion of Charles O'Connell, to facilitate the recording of the work. Bernstein assisted Harris in the cuts. Harris agreed to the cuts only for the recording, and preferred that the work be performed as written. The Ormandy recording and the Toscanini broadcasts are complete. To the best of my knowledge, there is no extant recording of the Harris 3rd with the original ending.
Typing this, I am reminded of an opportunity to recommend recordings for the National Recording Preservation Board Registry. One year I recommended the Koussevitzky performance of the Copland 3rd. Here we had what is probably the most revered American Symphony conducted by the man who commissioned it and gave its first performance. It lost out to the likes of Michael Jackson and the Everly Brothers. I guess there are some things I not supposed to understand.

    On Saturday, February 20, 2016 2:43 AM, Eric Nagamine <[log in to unmask]> wrote:

 Hopefully Tom can answer a couple of questions..


1.      I've been sorting through a deceased friend's collection and I
noticed there were many different colored labels in addition to the normal
Dark Plum or later Red labels. There's the common white label promo, but
I've also found Pink, Green, Yellow and Gold labels in place of the normal
plum or red labels on stereo SR series discs. Some say promo and some don't.
Any significance in this? I know some of the early mono Mercuries have the
Gold Label and I think so does the Civil War sets, but these are not those.

2.      Do you know if the Dorati/Minneapolis Copland 3rd in the most
recent Mercury box has the uncut version of the finale? From what I
understand, every recording from the late 50's on use Leonard Bernstein's
cuts from the late 40's, even the 2 Copland led recordings. 


Thanks for any light you can shed on this.



Eric Nagamine