What holds Ballet Zürich’s “Timekeepers” program together is the musical avant-garde of the 1920s: the early, primitivist Igor Stravinsky and the Georges Gershwin and Antheil. But what anchors the mixed bill is Bronislava Nijinska’s astounding Les Noces. At its Ballets Russes premiere, in 1923, a critic noted that the brutal wedding ballet “dismantles, piece by piece, the machinery of family and civilization.” The ballet does so as a machine. To Stravinsky’s percussive, keenly dissonant cantata, the angular, impassive dancers lock together like gears and pile on top of each other like so many discarded parts. The premieres on the program also look promising, given who’s involved. Besides the reliably excellent Ballett Zürich musicians, that includes the London-based South African Mthuthuzeli November, choreographing to Gershwin’s Rhapsody in Blue, and the Australian Meryl Tankard, an early member of the Pina Bausch ensemble, reworking Antheil’s Ballet Mécanique. —Apollinaire Scherr