Known for his love of all things American, Balanchine expertly reconceives square dancing to fit his neoclassical minimalism, retaining its fascinating patterns and effervescent spirit.

In Square Dance, George Balanchine joined the traditions of American folk dance with classical ballet. He felt the two types of dance, though widely different in style, had common roots and a similar regard for order. He wrote, "The American style of classical dancing, its supple sharpness and richness of metrical invention, its superb preparation for risks, and its high spirits, were some of the things I was trying to show in this ballet." In the original 1957 version, the musicians were placed onstage, and a square dance caller was brought in to call out the steps. Square Dance was revived in 1976 without the caller, with the orchestra in the pit, and with an added solo for the principal male dancer.

Subtle, sensual, and narcissistic, Afternoon of a Faun depicts a chance encounter between two young dancers in a studio.

Debussy’s Prélude à l’après-midi d’un faune was composed between 1892 and 1894. It was inspired by a poem by Mallarmé that was begun in 1865, supposedly for the stage; the final version appeared in 1876. The poem describes the reveries of a faun around a real or imagined encounter with nymphs. In 1912 Nijinsky presented his famous ballet, drawing his ideas from both the music and the poem, among other sources, including Greek sculpture and painting. This pas de deux, choreographed by Jerome Robbins, is a variation on these themes. It was first performed in 1953 by New York City Ballet, and is dedicated to Tanaquil Le Clercq, for whom the ballet was choreographed.

The silken precision of this Black & White ballet, set to a Alexei Haieff composition in equal parts vivacious and quietly nostalgic, makes this rarely performed work a delightful nod to the reputed Balanchine style.

The cheerful 26-minute Donizetti Variations sets a series of effervescent dances to music from the opera Don Sebastien, offering choice but technically challenging roles for two bravura dancers and three supporting trios.

This ballet (originally titled Variations from "Don Sebastian") was created for "Salute to Italy," a 1960 New York City Ballet program celebrating the 100th anniversary of Italy’s unification. Balanchine created this cheerful and sunny work to offset the more somber tone of the other ballets on the program, which included La Sonnambula and Monumentum Pro Gesualdo.