Shivaree, chthonian, erumpent, tintinnabulation, exonumia, requiescat, deipnosophist, omphaloskepsis, horripilation, deliquesce, apopemptic. How many of these fabulous words do you know? Even spellcheck, as I write, is stumped by exonumia, which are items that resemble money but are not meant to circulate as money.
It just so happens that Mackey is an electric guitarist who has no problem with raising a ruckus. He readily took to the idea of a shivaree, which, to quote Dictionary.com, is “a mock serenade with kettles, pans, horns and other noisemakers given for a newly married couple.” Mackey is one of America’s most imaginative composers when it comes to all the wide ways of marrying solo instruments to an orchestra.
Yet the strange and wonderful thing about “Shivaree” is that it is far more than a riotous shiveree, except in the first movement and its short return at the end . The trumpet and flugelhorn solos are what lead a large orchestra on its wild lexical ride. Pairing “Shivaree” with Mahler’s Fourth made perfect sense. This is Mahler at his most songful and least angst-ridden. The composer’s angels and devils duke it out as they always do, but with remarkable grace. The symphony has its own weirdness too, as in the second movement when the concertmaster mistunes his violin for a devilish dance. Martin Chalifour pulled that off with his own slyly horripilating suavity.
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