Justin Peck isn’t known for romanticism. True to his generation, it’s friends that figure most strongly in his work, whether for the New York City Ballet, the movies, or on Broadway. Yet his 2014 Belles-Lettres is meltingly romantic—in the swooning couples and the sad young male soloist; the costumes, by fashion designer Mary Kazantrou, seemingly embroidered onto the skin; and the César Franck score, a rarely recorded, fantasy-infused piano quintet (opus 10). Bracketing it on “Innovators & Icons I” are pieces that are equally atypical of New York City Ballet’s founding choreographers. Tragic love runs through George Balanchine’s ballets, whatever the genre, but not where you might expect it, in Scotch Symphony, his entertainingly jumbled homage to ballet’s earliest extant romantic tragedy, La Sylphide. Jerome Robbins painted the myriad colors of romance in his episodic Chopin and Bach ballets. But the romance in Glass Pieces, to the eponymous minimalist composer, is for New York, the relentless city. —Apollinaire Scherr