If you try to analyze the way the choreographer Mark Morris fits dance to music, you quickly become aware of something akin to a scientific operation of intense intricacy: The connection of movement phrases and motifs to each score is extraordinarily complex in both structure and detail — and, often, brilliantly satisfying. But when you stand back and simply watch the sheer imagination with which Mr. Morris decides what kind of drama he’s marrying to music that, in most cases, was written long ago with very different ideas in mind, then he starts to look eccentric, a peculiar and daring oddball, an engaging but naughty maverick.