Tobi Tobias for Arts Journal

Who does Mark Morris think he is, Bronislava Nijinska? George Balanchine? These superlative choreographers are among the several who preceded him in providing the choreography for Igor Stravinsky’s foxy music-and-dance entertainment, Renard. Nijinska was the first to do so, in 1922, for Sergei Diaghilev’s Ballets Russes. Balanchine choreographed the first American production in 1947 for Ballet Society, a forerunner of New York City Ballet. Last week Morris brought his own version, recently premiered at Tanglewood, to the annual Mostly Mozart Festival at Lincoln Center.

Apollinaire Scherr for Financial Times

In the best of all possible worlds, dance and live music are inseparable companions, an ideal that has become a tradition at Tanglewood, where every summer about this time the Mark Morris Dance Group fuses its considerable talents with those of the newly-arrived fellows of the Tanglewood Music Center. And, as a bonus on Tuesday evening (and repeated Wednesday) in Seiji Ozawa Hall, the Morris dancers also enjoyed the good company of an old friend, Yo-Yo Ma. The genial and gifted cellist was on hand for an encore performance of Morris' popular "Falling Down Stairs," an original collaboration between Ma and Morris explored here in 2003, the first year the festival welcomed the choreographer.

Alastair Macaulay for The New York Times

How many layers are there to human thought? Sometimes in art, just as in people’s conversations, we’re aware of only one at a time. On other occasions, though, we realize just how many layers can be in simultaneous action, and we’re given a sense of both revelation and mystery. When a choreographer responds to music — when one artist reacts in detail to another — the sensation of multilayering can affect us as an insight not just into dance but into the regions of the mind.