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Christine TeminAn entire book devoted to a single choreographic work is almost unheard of. There are children's books explaining The Nutcracker. On a more scholarly level, there is the 1985 Balanchine's 'Mozartiana' by Robert Maiorano and Valerie Brooks, a rare example of a thorough analysis of one ballet. It's hard to think of many more. Mozartiana is a masterpiece. So is Mark Morris' L'Allegro, il Penseroso ed il Moderato, which is now, happily, the subject of a visually sumptuous and lucidly written examination. Even in their stillness, the images-by 17 photographers, including such well-known names as Martha Swope and Tom Brazil-convey a vivid sense of this full-evening production that premiered in Brussels in 1988. The three substantial essays-by Morris biographer Joan Acocella, author/editor Wendy Lesser, and British critic Alastair Macaulay-do the same. In a section called "The Making of L'Allegro," five dancers who were present at the creation, plus rehearsal pianist Linda Dowdell and Morris himself, weigh in on the creative process.