In this wildly varied evening of four new works, Andrew Bartee builds on his own highly individual movement invention in arms that work, with impulses shifting and reverberating everywhere. His dancers literally throw themselves into the challenge, working far outside their classical training. In contrast, Margaret Mullin turns her attention to the emotional potential of ballet itself. Lost in Light is a gently lyrical exploration of the medium, and Mullin draws some exceptionally fluid performances out of her dancers. With his Sum Stravinsky, Kiyon Gaines has made a brainy version of a send-them-home-happy closing ballet for his PNB colleagues. It’s a tricky homage to Balanchine’s fiendish pattern-making, and Gaines has framed his usual high-intensity, almost breakneck movement in a classical structure. From outside the PNB fold, the most anticipated work is by Seattle native Mark Morris, his first for the company. His Kammermusik No. 3, set to Paul Hindemith, has a complex and mysterious feel. The dance is full of Morris’ blithe combinations of folk-inflected movement and post-modern structural games, but he inserts a disquieting tone midstream. Dancers collapse unexpectedly—or appear to limp briefly, then “recover” and move on. It’s a suggestion of another world, but not a full view. The moment the work is complete, you want to see it again. SANDRA KURTZ

Fri., Nov. 2, 7:30 p.m.; Sat., Nov. 3, 2 & 7:30 p.m.; Nov. 8-10, 7:30 p.m.; Sun., Nov. 11, 1 p.m., 2012