As curated by Charles Wuorinen (b. 1938), this year’s festival featured music that spanned a half-century, weighted toward the recent past, with a significant number of older composers heard from whose names are still relatively unfamiliar. This could be taken as an effort on Wuorinen’s part to offer recompense to some of his (relatively) neglected contemporaries. Of twenty-three composers performed, only four are 40 or younger, constituting the smallest age-demographic group. Composers in their 50’s, 60’s, and over 70’s received stronger representation. This enabled the listener to revisit the second half of the twentieth century while catching up on recent stylistic developments. The emerging picture was surprising—there was no single pattern of historical development to be perceived. The notion that musical style progresses in clear directions received no illustration; neither evolving serialism, electronics or neo-tonality predominated. mixed influences were so frequently demonstrated, including all of the above in a single work, that each composition could be viewed as sui generis, characterized by a predominating uniqueness of voice but nourished by various twentieth century stylistic trends. What Allan Kozinn, in his review of the festival (NY Times, Aug. 9) dubbed “style wars” can be declared over. Whether everyone is a potential victor remains up to the individual listener to decide.