In 1969, when he made Dances at a Gathering, Jerome Robbins was in a not unfamiliar mood of self-questioning. “I find myself feeling just what is the matter with connecting,” he said, “what’s the matter with love, what’s the matter with celebrating positive things?” These thoughts, however subliminal, lie behind the choreography which he then started for New York City Ballet.

He was returning to classic dance after years in the theatre, and had also renewed an interest in Chopin’s piano music. He set to work, and movement flooded from him with an ease that this perfectionist had not shown in years. Twenty-five minutes of dances to Chopin were completed, and shown to George Balanchine. When Robbins talked of making cuts, Balanchine said, “make more, make it like peanuts” and mimed the way we need to go on nibbling that more-ish bean. There resulted this hour of delights, sprung with what seems entire naturalness from the music.