Christopher Wheeldon’s Polyphonia, from 2000, and Justin Peck’s The Times Are Racing stand a generation apart and leagues’ distant in method and mode. Yet both works marked a big leap forward for their respective New York City Ballet resident choreographers, and both ballets reward repeat viewings. For Polyphonia, Wheeldon has channeled the spirit of Balanchine’s Agon into his own stark, elliptical, and more tender modernism. Peck has always given piquant choreographic form to his generation’s sweetly androgynous communities of friends. But this large ensemble piece, to Dan Deacon’s grim, grimy, and propulsive electronic rock album, lends a new urgency—and poignancy—to their groupings. —Apollinaire Scherr