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from the composers themselves or commissioned fromother serious composer-orchestrators. The desiderata wasthe accumulation of new versions for Ballet Theatre’s entirerepertory that would be artistic products on their ownmerits, not reluctantly diluted patchwork after the fact.In keeping with that policy, in January 1941, when thepremiere of Moïse that season was still being held out as apossibility, Pleasant asked Milhaud to reorchestrate for anadditional fee not only Moïse but also his earlier ballet LaCréation du monde. Ballet Theatre had staged this work inits first season as Obeah (Black Ritual), with choreographyby Agnes de Mille for sixteen black female dancers—the“American Negro wing” of the company—for its new“model ballet orchestra” of twenty-one pieces.Milhaud replied that in the case of Moïse, such reorchestrationwould require complete artistic “rethinking.” But heshrewdly offered to reorchestrate not only the two requestedscores, but also his ballet Train Bleu—all three for a flatinclusive fee. It is not known for certain, however, whetherhe ever actually did reorchestrate Moïse.In the wake of the fallout from the administrative shake-upand Pleasant’s departure, Loring also left Ballet Theatre inlate spring or early summer of 1941 and organized his ownsmall company, Dance Players, in which Winthrop Palmerwas also involved—possibly in a patronage capacity. DancePlayers was in effect a successor to Lincoln Kirstein’s BalletCaravan, for which Loring had choreographed Copland’sBilly the Kid. Both Loring and Palmer were eager for theirMoïse collaboration to see the light of day. They thus soughtto transfer its production to their new company, especiallysince the Ballet Theatre production seemed increasinglyunlikely—at least in the short term. (The future of BalletTheatre itself was in some question at the time, prior to itsrescue and assurance of a major place in American balletunder the new management of the illustrious and starorientedimpresario Sol Hurok.)8.559439 20Although Milhaud had retained the rights to his music,the separate choreographic rights (viz., to his Moïse score)specifically remained with Ballet Theatre. Moreover, underthe terms of his contract with Ballet Theatre, Milhaudwould have been free to have his score rechoreographedby another choreographer and staged by another companyonly after the expiration of the time period he had grantedto Ballet Theatre, which also declined to abrogate thatprovision. Loring and Palmer’s only alternative was to seekanother composer to provide a new and unrelated score,which Loring could then—at least in theory—choreographanew as an independent work of art. This time they turnedto Stefan Wolpe, who had immigrated to the United Statesthree years earlier, and who did indeed write a new scoreto Palmer’s scenario (and, it seems, to Loring’s preliminarydramatic outline). That score was staged by Dance Players asTHE MAN FROM MIDIAN in Washington, D.C., and New Yorkin 1942, presumably with Loring’s new choreography.For Wolpe’s new score, all sets and costumes had to be donede novo by Loring’s new company, although it is difficult toknow—especially in view of Ballet Theatre’s retention ofthe choreographic rights—to what extent Loring relied onelements of his earlier choreographic ideas and movementsin creating a work for entirely different music. New sets,designed by James Morcom, were based on paintings by DorisRosenthal, who was also listed in the program booklet as artistconsultant; and new costumes were created by Felipe Fiocca.Once it was obvious that Ballet Theatre’s production ofMoïse had in effect been aborted, Milhaud seems to haveput aside concerns about its staging in the immediatefuture, and he focused on its use as a concert suite. Thework, in concert form as Opus Americanum no. 2, atlast received its premiere in 1942 by the San FranciscoSymphony conducted by Pierre Monteux. It took anotherfour years for Milhaud to retrieve the manuscript fromBallet Theatre (which claimed to have misplaced it). In1947 he published it as Opus Americanum no. 2, Suitefrom the Ballet Moïse, with the original three movements(two movements plus coda) now spread among nine newly