Then what was the prevailing style? In keeping with the openness of many young artists now, it was broad. Hypercomplex Boulezian modernism wasn’t on offer this year: The composer Matthew Aucoin, who founded AMOC in 2017 with the director Zack Winokur, wrote witheringly in The New York Review not long ago about the “supersaturated sameness” of Boulez’s music.
Even the warning that a concert is about to begin isn’t the usual docile bells, but a spreading roar of electronics from “Répons” by Pierre Boulez, a tutelary spirit here for decades.
