The New York City Ballet's all-Stravinsky, all-Balanchine program, seen at the Kennedy Center last night, may not have been everyone's dish -- it was more intellectually taxing by far than most other programs, including those of the NYCB, and it was singularly devoid of the typical threatrical blandishments aimed primarily at pleasing crowds. $ but for the hard-core ballet maniac with a taste for abstraction, it was pretty close to the ultimate. Compressed within a single evening were five masterworks, the fruits of one of the century's most remarkable artistic partnerships -- a kind of almanac of ballet revolution in our time. $ only one of the works, "Agon," had a score that Stravinsky composed specifically for the dance, and in particular, for the NYCB -- it was in fact, commissioned by Balanchine and Lincoln Kirstein.Such was the nature of the affinity between composer and choreographer that in each instance the music and the dance seemed made for each other. Indeed, it was about one of the evening's other ballets, "Movements for Piano and Orchestra," that Stravinsky himself once said: "To see Balanchine's choreography of the 'Movements' is to hear the music with one's eyes; and this visual hearing has been a greater revelation to me, I think, than to anyone else." $ balanchine and Stravinsky each transfigured -- their detractors might say disfigured -- the inherited language of their respective art forms. The resultant sounds and movements echoed the discords of a turbulent new century. $ at the same time, a large measure of their artistic kinship resided in the classical base that neither of them ever abandoned, as was so clearly manifest throughout last night's programs -- the stringent economy of means, the formal rigor and clarity, the primacy of structure. $ this still left room for a great diversity of modes. "Agon," for example, with its 12-tone score, suggests the word of atomics -- the dancers are not so much bodies as they are clots of energy, attracting, repelling and gyrating in a fierce interplay of electric forces. "Movement" subdivides its particles even further, so that one thinks of cyclotrons and fission reactions. $ the "Monumemtum Pro Gesualdo," with its antique touches and sweet decorum, and the astringently romantic "Violin Concerto" are in another vein altogether. In many ways the "Symphony in Three Movements," the most brilliant and intricate of the five, calling for 29 dancers, sums up and extends both tendencies -- the constructive and the expressive. $ the evening's dancing had its lapses and blurred passages, but on the whole it substained the NYCB's usual high standard. Of exceptional note were the contributions of Suzanne Farrell, Peter Martins, Jean-Pierre Frohlich, Sean Lavery, Sheryl Ware and Kyra Nichols.