To set the tone for an evening that, after intermission, was dominated by Debussy, Runnicles looked first to a brief ballet of musical whimsy. Darius Milhaud’s “Le boeuf sur le toit” is a piece full of polytonality and amusing dissonances characterized by a playful, almost comical interaction among the instruments. The Latin American guiro, in the percussion section, set the pace for most of the piece with a relentless forward propulsion. The music sometimes sat on the back of this beat, leading to a bit of internal tension that jived nicely with the overall feel of the composition. At times, different sections of the orchestra mashed up against one another, weaving together divergent musical material. The ASO embraced these pre-Ivesian bits of controlled chaos, leaned into the dissonances and perfectly executed the bits of tango music interspersed in the quirky score.
Playfulness remained for selections from a massive suite of songs for soprano and orchestra. In introductory remarks to the program, Runnicles warned the audience that during “Chants d’Auvergne,” a set of songs for orchestra and soprano by Canteloube, they might be forgiven for asking themselves, quizzically, “Is that a bagpipe I’m hearing?” Alas, there were no bagpipes; the orchestral accompaniment was packed with pastoral, spring-has-sprung melodies. Flutes swirled and twirled like butterflies as low woodwinds skipped through sun-dappled forests. It’s impossible to forget the earthy, resonant, oboe solo that began “Trois Bourrees: L’aio de rotso.”