AT 32, Christopher Wheeldon, resident choreographer of New York City Ballet, is the most sought-after dancemaker of his generation. And the expectations placed upon him are not always realistic.

At the New York State Theater on Tuesday, City Ballet unveiled his newest creation, “Klavier,” to the adagio movement of Beethoven’s well-loved Op. 106 Piano Sonata, nicknamed “Hammerklavier.”

To Beethoven’s sonorous and luminously noble music, Wheeldon has produced choreography more craftsmanlike than inspired. Choreography should never try to illustrate music, but it should illuminate it. That is where “Klavier” comes adrift from its moorings.

The ballet is brief, even pungent. There are many moments of extended beauty – and it is danced with exquisite deliberation by a cast of 10 headed by Wendy Whelan, Sébastien Marcovici, Miranda Weese and Albert Evans.

Yet the continuing patterns, dominated by supported turns, high lifts in arabesque and ballerinas sliding gracefully around their partners’ backs, loses much in constant repetition, although the use of dancers gently skidding across the stage on their toes has an unexpectedly lovely originality.

The ballet was little helped by the designs of Jean-Marc Puissant and the elaborated costumes.

“Klavier” happens to be Wheeldon’s 13th work for City Ballet, and it wasn’t a particularly lucky one.

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KLAVIER

New York City Ballet at New York State Theater, Lincoln Center; (212) 870-5570. Season runs through Feb. 26.