You could tell how things have changed in recent years at the Mostly Mozart Festival: Over two evenings this past week, in five diverse programs, not a single work by the festival’s namesake was performed.

Not that I’m complaining. When Louis Langrée became the music director of this venerable Lincoln Center summer event in 2003, he and Jane Moss, the center’s artistic director, agreed that the way to rescue Mostly Mozart from staleness was to introduce new initiatives, broaden the repertory, and invite living composers to take part. This shift in emphasis has continued as Mostly Mozart has taken up some of the offerings that used to be the province of the its onetime summer sibling, the multidisciplinary Lincoln Center Festival, which was jettisoned last year.

Mozart did rule at the start of this summer’s festival with the New York premiere of a well-traveled production of “The Magic Flute.” But the flurry of Mozart-free programs offered evidence of fresh thinking.