“Springweather and People,” a full company work, was remembered by Cunningham as “a very long piece,” by Marianne Preger as having long stillnesses, and by Carolyn Brown as “lyrical and dancey.” Earle Brown, who composed the music, said “Merce gave me his time structure, which I meditated upon and then ignored. I composed the piece in my own way, just making a relationship to his time.” Upon seeing the music and dance together, Earle Brown was struck by “how effective the lack of synchronization was,” recalling “an extraordinary moment” with “Merce coming out of the wings in a leap at a point in the music when there was only one note being played on a violin. Merce flew on the one held note.” The costumes for the original 1955 production were designed by Remy Charlip, who also danced in the piece. Robert Rauschenberg redesigned the costumes for a performance at the Brooklyn Academy of Music in November 1957, which turned out to be the last time the complete dance was done. In 1958, Cunningham arranged a suite of duets and solos from “Springweather” for himself and Carolyn Brown.