Lar Lubovitch’s Concerto Six Twenty-two, to Mozart’s Clarinet Concerto, has elicited impassioned responses, largely because of its extended male adagio. The dance critics of both the Times and the Post cited the ballet as among the best in dance in their year-end roundups for 1986. When it was presented last July at the Mostly Mozart Festival—the first time a dance company had ever performed there—the work was greeted with the kind of applause usually reserved in the music world for operatic superstars. Performed on its own at the Dancing for Life benefit last October, the pas de deux drew the greatest audience response and was the emotional high point of the evening. As the New York Native put it, “Suddenly, the evening’s legions of ballerinas and galaxy of stars became irrelevant, as two men explored mutual trust and support in a dance relationship that evolved as we watched.”

Lubovitch himself says in the Nativethat he was not out to make a political statement but wanted merely to comment on friendship, that he wanted “to say something about dignity, about the ways two men can relate.” At the same time, he adds, “I don’t think it’s a mistake to respond to the political or emotional overtones of the dance. Whether or not I had intended it that way, everything that I am, that I believe in, that I do, goes into what I make.” Attempting to explain himself in more mainstream publications, however, the choreographer tends to