On Saturday night, the orchestra gave us a taste of what that creativity could sound like. From the dark shadows and fierce percussion of the first movement’s strident march, through the eerie haunted-ballroom waltz of a second movement complete with slithery clarinets and dancing strings, to the skittering 6/8 of a finale full of chattering xylophone and strident brass, this was a bouquet of roses in purple and black.

While each section had some shining moments — luscious saxophone, lilting bassoon, dark clouds of cello and bass — the best part was the rubati in the waltz. Following Ioannides’ masterful architecture and intense coaxing, every musician played the expressive hesitations as as a single mind, like a ballroom of perfectly whirling spirits.

It was a true musical bouquet, received so enthusiastically that even the Pantages’ rumored ghost seemed to put in an appearance, flickering the balcony lights appreciatively when the music reached its spookiest passages.