The discordant and abstract “Post Meridian” follows. It lifts the mood a bit but doesn’t lower the challenge for a viewer. Dancers hop side to side to the sound of metal dinging and popping, as if they themselves are notes of dissonant music. There’s a section that sounds like a record playing backward. A dancer rapidly spins his arm in a circle like a clockface gone haywire. Costumes by artist Alex Katz, a frequent Taylor collaborator, are scene stealers: Four women in color blocked unitards with gloved fingers each sport one scarlet clad arm; two men well-matched both in size and deep bronze unitards. They seem to float in a series of lateral jumps. When Kristen Draucker shows up, her arms are neon yellow; Devon Louis arrives in purple.

And then, after a second intermission, Novak gives us the emotional release of Bach’s “Brandenburg Concertos.” Has he purposely invoked a slow build in order to heighten the pure joy that is “Brandenburgs?” The curtain opens on five robust men in velvety green unitards adorned with a sparkle of sequins at the neck. They perform unison phrases that accumulate, often completed one by one in canon. They strike me as a sort of chorus line behind three muses, who resemble delicate spirals of calligraphy as they dash across the stage. Soloist John Harnage, devotes a good part of his time observing the flirtatious women.

Rehearsal director Cathy McCann tells an anecdote in the post-performance talk-back about her experience (“like pulling teeth”) as one of the three women who originated the female roles. It seems the five original men were brand new to the company. “Brandenburgs” she says, turns out to be a good way to become a Taylor dancer, because it contains so many moves that Taylor used throughout his repertory. Also joining the discussion were Sharon McGuire and Carolyn Adams—both have performed the “Runes” solo in the past. Their comments underscore the meticulous way each new generation of dancers is rehearsed to remain true to Taylor’s original vision. There are no new interpretations of roles.