New at Harper’s Books

Harper’s Books in East Hampton will show concurrent solo exhibitions of work by Simphiwe Ndzube and Cassi Namoda from Saturday through Aug. 15. A reception will be held on Saturday from 5 to 8 p.m.

“Dancing Into Form” will include 11 mixed-media drawings and one painting by Mr. Ndzube, who is from South Africa, while “We Killed Mangy Dog” will have two recent series of paintings by Ms. Namoda, who was born in Mozambique.

Mr. Ndzube’s fantastical scenes subjectively reflect on the context of post-apartheid South Africa, while Ms. Namoda’s paintings draw from the writing of Luis Bernardo Honwana that address colonial-era Mozambique.

Alan Vega in Montauk

Thirty self-portraits by Alan Vega will be on view at Boo-Hooray Summer Rental in Montauk from Saturday through Aug. 3. Mr. Vega, who died in 2016, was a painter, sculptor, and partner with Martin Rev in the band Suicide, which they formed after seeing a Stooges concert in 1969.

One of the early forerunners of punk rock, Suicide was known for its confrontational live shows at venues such as CBGB and Max’s Kansas City. Mr. Vega’s drawings range from sketches with the feel of automatic drawings to insightful psychological self-portraits, according to the gallery.

Two at Ille Arts

Concurrent solo shows of sculpture by Joel Perlman and paintings by Karl Klingbiel will open at Ille Arts in Amagansett with a reception on Saturday from 6 to 8 p.m. and remain on view through Aug. 13.

Mr. Perlman will show solid bronze annular rings that evoke machines and rotating gears. In its admiration for the creative ingenuity of industry, his work has been linked to the collages and maquettes of Vladimir Tatlin and the Russian Constructivists.

Mr. Klingbiel’s dynamic abstract mixed-media works begin with his incising plywood panels with a router. After the image is completed, he lays paper on the wood and adds layer after layer of polymer paint before mounting the paper and treating it with fragmented and layered imagery.

Artist Talks

In keeping with its mission of illuminating the creative process, the Parrish Art Museum in Water Mill will be the site of two artist talks this weekend. Keith Sonnier, whose retrospective “Until Today” is on view there through Jan. 27, will discuss his work with the artists Nate Lowman and Adam McEwen tomorrow evening at 6. Courtney J. Martin, deputy director and chief curator of the Dia Art Foundation, will moderate.

On Sunday, Renate Aller, a photographer whose work is in numerous public collections, will discuss her new book, “Mountain Interval,” with Terrie Sultan, the museum’s director, at 11 a.m. The book includes 61 images of mountain peaks from six continents, the Himalayas and the Alps among them.

Tickets to both programs are $12, free for members and students.

Performance at White Room

I AM, a female creative collective founded in 2013, will perform “Water Musings” at the White Room Gallery in Bridgehampton on Saturday at 6 p.m. It reflects the artists’ fascination with the fluidity and power of water and will include poetry written on dancing bodies, a dance inspired by the sound of rain, and a painting created through body movement.

Tickets, which cost $50 by advance sale only, are available at the gallery or by calling 631-237-1481. Champagne, wine, and cheese will be served.

Design Show in Springs

The fourth annual East End Design Show will be on view at Ashawagh Hall in Springs from Tuesday through July 31, with an opening reception set for July 28 from 6 to 8 p.m. It will include photographs by Peter Boody and furniture by James DeMartis, Max Philip Dobler, Nick and Nancy Groudas, Kenna MacKay, Marcie Honerkamp, J. Scott McCoy, and Silas Seandel.

Basquiat Film

The Sag Harbor Cinema Arts Center’s Artists Love Movies series will continue on Sunday at 6 p.m. with a screening of “Boom for Real” at the Pierson High School auditorium in Sag Harbor. Directed by Sara Driver, who will host the showing, the film focuses on the formative years of Jean-Michel Basquiat, before he became famous, and the 1970s Lower East Side art scene from which he emerged. Tickets are $10, free for those 14 and under.

Collages in Amagansett

The Amagansett Library has a solo show of work by Lenore Weinstein on view through July 31. Ms. Weinstein’s collages are inspired by her years in San Miguel de Allende, Mexico. Her weathered materials recall the peeling paint of the colorful buildings of that town, and she uses shapes that refer to astronomy, astrology, and the passage of time. 

Group Show at RJD

“On the Edge of . . . ,” a group exhibition highlighting Rick Garland’s depictions of abandoned, graffiti-covered buildings, will open on Saturday at RJD Gallery in Bridgehampton with a reception from 6 to 8 p.m. and continue through Aug. 12.

The show will also feature paintings by Jesse Lane, Frank Oriti, Harmonia Rosales, Jackee Sandelands-Strom, and Pamela Wilson, whose figurative styles vary from the straightforward to the surreal and otherworldly.

Patti Grabel in Bridge

Chase Edwards Contemporary in Bridgehampton will show “Causing a Stir,” photographs by Patti Grabel featuring wooden spoons, from Saturday through Aug. 4, with a reception set for Saturday from 4 to 7 p.m. One of the key works on view is “Nature and Nurture,” a multimedia installation consisting of wooden spoons dipped in paint and hung from a clothesline. A portion of proceeds from the exhibition will benefit City Harvest.

Photographs and Sculpture

The Monika Olko Gallery in Sag Harbor is showing photographs by Jerome Lucani and sculpture by Alex Kveton through July 30. Mr. Lucani is best known for his “Icon Series,” portraits created from hundreds of smaller images related to his subjects. Mr. Kveton’s works in stainless steel, bronze, and aluminum range from figurative to abstract.

Stories — sung or spoken, from the living and the dead — will figure in two programs at Guild Hall starting next Thursday when Heather Christian will perform “Animal Wisdom (Campfire Concert)” at 8 p.m. An Obie Award-winning composer/performer with eight records in release, Ms. Christian blurs genres in “Animal Wisdom,” which she calls “a lo-fi, idiosyncratic concert-cabaret about talking to the dead.”

Among the deceased conjured by the performer are her flamboyant and cruel childhood piano teacher and her ex-C.I.A. code-breaker godfather. The musical séance shifts in tone from playful to dark, with poorly remembered Methodist hymns from the 1800s, family myths, gothic Catholic Masses for the dead, folktales, and other musical offerings.

In a Vogue magazine profile, Adam Green called the performance “a moving meditation on mortality, love, faith, ritual, the power of music, the wisdom of the superstitious gesture, and the insufficiency of the intellect alone to help us navigate the mysteries, terrors, joys, and sorrows of life.”

In addition to Ms. Christian, the program features Sasha Brown, Fred Epstein, Eric Farber, and Maya Sharpe. Tickets are $22 to $55, $20 to $53 for members.

The other program, G.E. Smith’s Portraits, an ongoing series of musical evenings hosted by Mr. Smith and produced by Taylor Barton, will feature Sophie B. Hawkins and Trevor Hall on Friday, July 27, at 8 p.m.

Ms. Hawkins is a Grammy-nominated singer-songwriter who emerged on the national music scene in 1992 with her album “Tongues and Tails.” She is known for her powerful storytelling, which ranges from the forlorn to the comforting.

When she made her Cafe Carlyle debut last year, the critic Adam Cohen wrote, “Deeply wry, fierce personal songs filled with lyrical delicacy, deliciousness and musical bite, this well crafted luminous, intelligent, engaging evening makes one feel as if Ms. Hawkins is singing only to you in your living room.”  

After recording his first album at 16, Trevor Hall left South Carolina for the Idyllwild Arts Academy in California, where he studied classical guitar and was introduced to yoga and meditation. A blend of roots and folk, his music reflects his involvement with Eastern mysticism and his many pilgrimages to India.

His new independent release, “The Fruitful Darkness,” became the top Kickstarter music campaign of 2017 and the 30th of all time. Currently on tour in the United States, Canada, and Europe, he has collaborated with such artists as Steel Pulse, Ziggy Marley, Jimmy Cliff, Matisyahu, Michael Franti, and Nahko & Medicine for the People.

Tickets are $55 to $150, $53 to $145 for members.

The Southampton Arts Center has announced its first Architecture and Design Tour, a benefit for the center that will include a talk and docent-led tours focused on Stanford White, one of the best-known American architects of the late 19th century.

It will begin next Thursday at 10 a.m. with brunch at the center and a talk by Samuel White, an architect and Stanford White’s great-grandson. The tours will follow between 11 and 2 with access to three private properties in Southampton Village designed by White, whose firm, McKim, Mead, and White, built some of the most iconic buildings of the Gilded Age.

Only 100 tickets, priced from $200, will be available. Reservations and more information can be found on the center’s website.

The Montauk Library will host “The Housewives’ Cantata Reboot,” a free cabaret featuring music by the celebrated composer Mira J. Spektor, on Wednesday evening at 7. The original “Housewives’ Cantata” was created in 1974 by Ms. Spektor, who is also a lyricist and poet, and the late June Siegel, a lyricist. The new version celebrates four decades of momentum toward equal rights for women with the addition of seven songs from Ms. Spektor’s more recent productions. 

The concert will feature Karen Jolicoeur, soprano, Lars Woodull, baritone, Bill Lewis, pianist-director, and Ms. Spektor. Additional lyricists whose work is represented are Charline Spektor, Colette Inez, Carolyn Balducci, and Caroline Crippen.

This article has been changed online from the print version to correct the spelling of Mr. Woodull's name and to clarify that all the music was composed by Ms. Spektor.

“Summer Roses VIII: Love in the Garden of Dreams,” a classical concert with Junko Ohtsu on violin, Sarah Moulton Faux, a soprano, and Dan Franklin Smith on piano, will take place at the Southampton Cultural Center on Sunday at 5 p.m.

Ms. Ohtsu has appeared in solo recitals throughout the United States, Asia, and Europe. Ms. Faux has performed with the Regina Opera Company of Brooklyn, the Amore Opera, the Pocket Opera of New York, and the Chelsea Opera, among others. Mr. Smith recently gave a solo recital at the National Gallery of Art in Washington, D.C. Tickets are $35, free for children under 14.

An auctioneer claims he has unearthed six Willem de Kooning works from an abandoned storage locker in New Jersey. David Killen purchased the contents of the unit for $15,000 and says the finds could range in value from $10,000 to $10 million.

According to the Chelsea auctioneer, the unit was once owned by Orrin Riley, an art conservator who died in 1986, and his partner, Susanne Schnitzer, who took over the business until she died in 2009. It contained 200 artworks. Mr. Riley founded the Guggenheim Museum's conservation department before starting his own Manhattan studio in the West 30s. 

After a nine-year period during which Ms. Schnitzer's estate and the New York State attorney general notified all of the clients who might have left works with the studio, those that remained were declared abandoned and cleared to be sold, Mr. Killen said.

Lawrence Castagna of Springs, a conservator and former de Kooning studio assistant, was asked by Mr. Killen to restore the works, all oil paintings on paper and newsprint dating from the 1970s with one possibly from 1960. "For 35 years they had been kept in a folder with glassine over them, I was hired to remove the glassine to see what they were," he said Tuesday.

Mr. Killen chose him for the work because he also had worked in Mr. Riley's studio, a job Mr. Castagna said he found through the recommendations of de Kooning and his wife, Elaine de Kooning. 

When he saw the six works, he knew right away they were by the artist. "I took a look at a corner of one of them [not covered by glassine] and it hit me in the gut," he said. Another expert Mr. Killen said he hired also agreed on the attribution, but opted to remain anonymous. "Anyone who knows anything about de Kooning wouldn't deny what they were," Mr. Castagna said.

He clarified that he is not an authenticator, as media reports have said, but that he could tell they were de Koonings from his experience working directly with the artist as well as later in Mr. Riley's studio, where he recalled several drawings from this period being restored or repaired. "Orrin Riley never had anything that wasn't important in there," he said.

De Kooning does not have a catalogue raisonne, a complete list of works that scholars and his foundation have agreed are authentic. The foundation also declines to authenticate work, so confirming the group's bona fides is tricky. The six works are unsigned, which is not unusual.

Mr. Castagna was still in high school in the mid 1970s, but began working in de Kooning's studio in 1982 during the artist's "Ribbon Painting" phase. He started with Mr. Riley in 1986.

He brought the drawings back to his studio in Springs to remove the glassine, "some 500 feet from where they were made," he said. They are now back in Mr. Killen's gallery, some to be unveiled on Tuesday night.

Mr. Killen has given estimates of the value of the works -- which differ in size, style, and support -- from $10,000 to $10 million, telling WCBS this week that the low estimate is probably too low and the high estimate too high.

Three of the paintings are 40 by 60 inches, an unusually large size for a work on paper, and three newspaper drawings. Mr. Castagna said that Elaine de Kooning told him that the newsprint paintings were the result of de Kooning not wanting to waste paint as he cleaned his brushes at the end of the day. He would put newspaper on the floor and run the brushes over them. "People who came to his studio said they liked the resulting images and he would give them away." Some have been recently sold in the range of $60,000 to $80,000, he said.

Mr. Killen plans to sell the works in auctions beginning in October. Historically, de Kooning's later work has been devalued compared to his work from the 1940s and '50s. Lately, however, scholars and the art market have rediscovered de Koonings of that period and the prices of some canvases have increased into the millions. This has also resulted in some skepticism in the marketplace, as noted by artnet News, which quoted one market watcher as saying the timing of these findings might be "a little too on the nose."

This story was modified from its original version to include the information that there are three works measuring about 40 by 60 inches with three works on newspaper.

The Choral Society of the Hamptons closed its 2017-2018 concert season on Saturday at the Bridgehampton Presbyterian Church with two performances of Carl Orff’s “Carmina Burana,” one of the most popular and widely performed pieces in the choral repertoire. A large and expectant audience attended the 5 p.m. performance, which I attended.

“Carmina Burana” was written in 1937 for chorus, large orchestra, two pianos, boys choir, and a great deal of percussion, and it was intended for performance with dance and visual elements. Its immediate popularity resulted in a reduced version for two pianos and percussion, allowing for performances by choirs with more modest resources, and that version was offered on Sunday.

Much of this variation and contrast in the work is provided by Orff’s use of orchestral color and by sudden juxtaposition of varying masses of choral and orchestral sound. Orchestral color is not available in this arrangement (approved by Orff) but rhythmic energy and dynamic contrast remain intact and opportunities abound for passionate and compelling music making. 

The Choral Society singers, three soloists, and a children’s chorus, as well as the pianists and percussion ensemble, under the direction of the society’s music director, Mark Mangini, made the most of them.

These opportunities lie in the text and Orff’s masterful setting of 24 medieval poems bewailing the fickleness of fortune and extolling the pleasures of love, lust, drinking, and other pursuits of young students in the 11th hrough 13th centuries. (In “Catulli Burana,” part of the triptych to which “Carmina” belongs, cautious community choruses have occasionally chosen to omit translations of some of the racier portions of these texts.)

The opening movement, “O Fortuna,” may be the most widely familiar choral music in the repertoire, having been used in movies, commercials, television shows, video games, and figure-skating routines. The piece literally begins with a bang, the tympanist nearly punching a hole in the skin of his drum and the singers entering a beat later with a full-voiced howl at the cruel and inevitable mistreatments dealt by fortune.

The effect of this opening is enhanced by an immediate contrast with a soft but intense elaboration of fortune’s misdeeds, the intensity largely achieved by precise and emphatic articulation of consonants. Mr. Mangini’s careful preparation of the singers was immediately evident here, as it was in the handling of the many changes in meter and tempo that Orff frequently calls for and in the accelerando in “Tempus est Iocundum.”  

The chorus was joined by three soloists, all of whom acquitted themselves wonderfully, if very differently. The soprano Chelsea Shephard’s rendering of one of the most song-like numbers was a pleasure, the tenor Alex Guerrero sang the famously high solo of the roasted swan in a wonderful and pure non-falsetto, and the baritone Dominic Inferrera dazzled with range and expressivity.

The full ensemble was joined twice by the well-prepared young singers from Sag Harbor’s Pierson School, and the contrast with the mature voices of the soloists and Choral Society singers was delightful. Their presence had the added benefit of bringing parents, grandparents, and siblings to a performance they may not have attended otherwise. One has to wonder, though, what the families of these talented youngsters, primarily girls, may have thought about the decision to substitute them for the boys choir that sings about virginity making them “frisky.”

The intensity, passion, and confidence of the chorus seemed to increase as it approached the closing numbers so that as fortune’s wheel completed its turn with the reprise of “O Fortuna,” the tricky dissonances of the opening measures were sung with more conviction and more bite than they had been at the opening. The opening may have been more effective in the second performance. The reprise, however, made for an exciting and satisfying close to the concert.

Despite the preparation and passion of the singers, the skill and precision of the pianists, Konstantin Soukhovetski and Matthew Maimone, and the power provided by the five percussionists, the absence of full orchestral accompaniment was frequently felt and occasionally almost fatal. This was especially true in some of the slower movements.  The orchestra is often called upon to provide lengthy sustained chords underneath the singers, something a piano is simply unable to do. If it is a matter of resources, the Choral Society deserves the kind of support that would allow it to provide community performances with orchestra when that is what the composer calls for.

The intelligence and creativity of Mr. Mangini’s concert programming has been obvious for some time, but whether coincidental or intentional, the choice of “Carmina Burana” to close the 2017-2018 Choral Society concert season provided a wonderfully creative and subtle counterweight to its performance of the German Requiem to conclude last season. 

Using biblical texts, the Requiem offers listeners a classically refined, tender, and sublime expression of solace in the aftermath of life lost.  “Carmina Burana” sends a full-throated barbaric “YAWP!” over the roofs of the world, a lusty “Song of Myself” based on poems written seven or eight centuries before Whitman’s and one that celebrates and extols life lived fully (if a bit recklessly) while roundly cursing fortune for whatever troubles are encountered along the way.

  The pairing and contrast, a year apart, of “Carmima Burana” with the Requiem, even if it requires that listeners exercise long-term memory, is a wide musical embrace of the varieties of human experience. It is also an understated touch of satisfying brilliance.

Two performances by the Strangemen Theatre Company and Dancers for Good, a benefit evening of dance, will take place at Guild Hall during the next ten days.

A nonprofit troupe founded in 2010 by graduates of the State University at Purchase Acting Conservatory, the Strangemen Theatre Company focuses on developing original plays and encouraging collaboration between artists from different disciplines.

“Bernie and Mikey’s Trip to the Moon,” which will be performed on Monday evening at 7, is a new play by Scott Aiello about an Italian-American family in Chicago in the 1990s that experiences the challenges and joys of raising a child with a cognitive disability. Billed as a dark comedy, the story includes a baseball bat, Elvin Presley, the moon, and a giant pot of tomato sauce.

Inspired by Greek mythology and poetry, “The Shape of Stars,” written and directed by Frank Winters, is a modern story of a family torn apart by grief whose individual members struggle to come to terms with their agony. It will be presented July 23 at 7 p.m.

Both plays will be followed by garden receptions with the casts and production teams. Links to tickets, which range from $30 to $90, can be found on Guild Hall’s website.

Seven dance companies will participate in Dancers for Good on Friday, July 20, at 7 p.m. The evening will honor Chita Rivera with the Lifetime Achievement in Dance award, and Bebe Neuwirth with the Dance Humanitarian award.

The program will include performances by the Amy Marshall Dance Company, Carolyn Dorfman Dance, the Martha Graham Dance Company, Pam Tanowitz Dance, Rock the Ballet, Eryc Taylor Dance, and the Paul Taylor Dance Company.

Proceeds will benefit the Actors Fund, which offers a broad spectrum of programs and services to help meet the needs of those who work in entertainment and the performing arts. 

Dancers for Good is a nonprofit formed in 2015 by Michael Apuzzo, a dancer with the Paul Taylor Dance Company, and Eric Gunhus, an event planner and Broadway performer, to produce dance festivals that support of the arts.

Tickets, available at eventbrite.com, range from $150 for the show only to $500 for preferred seating and an after party, with a limited number of $50 tickets for students and senior citizens.

A new version of “Confessions of a Mormon Boy,” which earned its writer-director Steven Fales an Outer Critics Circle Award nomination for outstanding solo performance, will have five performances at Bay Street Theater in Sag Harbor from Tuesday through Sunday. The production is directed by Scott Schwartz, Bay Street’s artistic director, who will also direct when the play opens Off Broadway in the winter of 2019.

“Confessions” premiered in 2006 at SoHo Rep in New York City and has been performed since then at venues large and small throughout the world. “Steven and I have worked together on the play,” said Mr. Schwartz, “so it’s a new version. There will be a few projections, a few sound cues, but it’s really Steve up close, personal, and pretty raw. The show is funny, and it’s pretty graphic at points, so it’s definitely for adults.”

Born in Provo, Utah, Mr. Fales is a sixth-generation Mormon whose life ranged from missionary work in Portugal and marriage with two children to conversion therapy, excommunication from the church for homosexuality, and work in New York as a high-end male escort.

When it played at the Coast Playhouse in West Hollywood in 2007, David C. Nichols of The Los Angeles Times wrote, “Wrenchingly honest, hilariously jubilant and utterly clear-eyed, Steven Fales’s autobiographical testimony of his journey from devout Mormon to Manhattan escort is an exceptional achievement to rank beside the best of the solo genre.”

“Confessions” is the first play in “Mormon Boy: A Trilogy of Solo Plays.” “Mission Statement” focuses on his time as a missionary “in which he shows things about the rituals and the clothes of the Mormon church that aren’t really public,” according to Mr. Schwartz. “Prodigal Dad” focuses on the efforts of his wife to prevent him from ever seeing his children. 

Performances of “Confessions of a Mormon Boy” will take place Tuesday at 7 p.m., next Thursday and July 21 at 5 p.m., Friday, July 20, at 8 p.m., and July 22 at 2 p.m. Tickets range from $40 to $135, $39.99 as an add-on to a 2018 Mainstage subscription. 

The Old Whalers Church in Sag Harbor will host a reading of “Mission Statement” on July 22 at 7 p.m. and of “Prodigal Dad” on July 23 at 4 p.m. Tickets are $10, and seating is limited.

Lucie Arnaz in Concert

A few tickets remained as of press time for “Lucie Arnaz: Songs From My Musical Past,” which will be performed at Bay Street on Monday evening at 8 as part of its Music Mondays series.

In this new concert, the Emmy Award-winning Broadway star will perform iconic songs from some of Broadway’s greatest shows and share anecdotes and recollections about her co-stars, directors, and musical collaborators. Tickets are $59 to $89.

The Bridgehampton Chamber Music Festival is celebrating its 35th anniversary from July 19 to Aug. 19. The festival, with 18 concerts and a variety of interesting and stimulating events, has “Destination America” as its overarching theme.

“There’s something about taking stock at year 35, and thinking about life and how lucky we are that we have all these wonderful musicians, and all the influences they bring to bear in their music making,” Marya Martin, the founder and artistic director of the festival, said last week. “Out of 43, something like 25 were not born in America, though most of them now live here. I think it is only five that we bring from various countries.”

“And then of course you look at the composers. There are many composers who came to this country because they loved what America had to offer, but also to escape the ills of the world; and America was one place where they could come and realize a wonderful life. There’s something about celebrating that at our 35th year that just feels very right.”

Among the composers represented will be those who came to flee oppression (Igor Stravinsky, Erich Wolfgang Korngold, Arnold Schoenberg, Bohuslav Martinu, and Erno Dohnanyi), to explore new opportunities (Antonin Dvorak, Astor Piazzolla, Osvaldo Golijov, and Zhou Tian), or are the descendants of slaves (William Grant Still) or immigrants (Aaron Copland, Leonard Bernstein, Philip Glass, John Corigliano, Paul Moravec, Bruce MacCombie, George Tsontakis, Mark O’Connor, Jennifer Higdon, and Kenji Bunch), according to a release.

Highlights of the month include a free outdoor concert on July 25, “Waltzes to Tangos: The Art of the Dance,” on the lawn of Bridgehampton Presbyterian Church. The annual Wm. Brian Little Concert on Aug. 10 will be a Bernstein centennial program that celebrates the friendship between Leonard Bernstein and Aaron Copland, with “Appalachian Spring” and songs by the two composers performed by the internationally known opera star Nathan Gunn, who is appearing with the festival for the first time. At the Parrish Art Museum in Water Mill on Aug. 6, what has been an annual event is also now an all-American program, called “American Dreams.”

Composers from the established European canon will also be well represented, including Haydn, Strauss, Fauré, Schubert, Schumann, and Franck, and in programs such as “Mozart and More” (Aug. 5), Beethoven’s “Ghosts” (Aug. 15), and “An Evening of Bach Sonatas” (Aug.18).

The actor Alan Alda will appear for his third season as the host and narrator for a composer portrait program, in two performances, on July 22 and 23, a Sunday and a Monday. This time it will be about a well-known composer, Felix Mendelssohn, and his less-well-known sister, Fanny Mendelssohn, who is only recently receiving the attention and exposure that she deserves.

“Fanny was younger, a female, and told by her father to stop composing, find a guy, get married, and have kids,” Ms. Martin said. “Sometimes, to get her works played in important places, Felix would put his name on the score!” The concert will include her Piano Trio in D minor.

“The Octet is the last piece of music on the program, is such an incredible piece, and Felix composed it when he was 16. It’s mind-boggling!” she said.

A benefit concert will be held at the Atlantic Golf Club in Bridgehampton on July 28, with selections from Vivaldi’s and Piazzolla’s “Four Seasons,” as well as John Corigliano’s “Voyage for Flute and Strings,” composed in 1983. Cocktails and dinner will follow.

As a new feature to kick off this anniversary year, there will be five “pop-up concerts” by the Rolston String Quartet at various times on July 19 to 21 at the Southampton Arts Center (a family program on July 19), the Parrish, the Hampton Library in Bridgehampton, the John Jermain Memorial Library in Sag Harbor, and the Madoo Conservancy in Sagaponack. The Rolston Quartet, from Canada, won first prize at the Banff International String Quartet Competition in 2016.

Ms. Martin said that in trying these pop-up concerts as a “prelude” to the main season of events, “we wanted to do something that celebrated community and music. It’s an experiment, and I’m excited about it.” These 45-minute concerts are free, but reservations have been strongly recommended.

The festival has commissioned two new compositions that will be premiered this summer: On Aug. 5, a work for piano and winds by Mr. Bunch will have its first hearing, and for the last concert of the season, on Aug. 19, “A New Country,” a commissioned song cycle by Mr. Moravec, a Pulitzer Prize-winning composer, will be premiered, heard alongside the music of Brahms.

“I wanted to include Walt Whitman because I’m a big fan, and because he’s a Long Islander,” Mr. Moravec said last week. “I also wanted it to be about New York, and about immigration. There are three texts from Walt Whitman, excerpts from his larger poems, all having to do with his attitude toward immigration, and in particular to the Irish, which was the large immigrant group in his own experience. I had never set ‘The New Colossus’ by Emma Lazarus, the poem that is about the Statue of Liberty and New York as an immigrant port,” with the familiar line, “Give me your tired, your poor. . . .”

The mezzo-soprano for that occasion will be Jennifer Johnson Caro, who made her Metropolitan Opera debut in the 2009-10 season, and since then has logged more than 100 performances at the Met. “A New Country” is scored for flute, violin, viola, cello, and piano, in addition to voice.

“One thing to listen for is the use of musical motifs. . . . There are motifs that occur throughout and across the five songs, and they give musically a unified whole composition,” Mr. Moravec said. “The songs are integrated structurally and musically. The work has an abstract dramatic arc across the five songs.”

An earlier festival commission by Mr. Moravec, the 2003 Chamber Symphony for Flute, Clarinet, Horn, Violin, Cello, Piano, and Percussion, will be heard again on Aug. 12.

Among the performers who are returning to the festival’s roster are Frank Huang, violin, Richard O’Neill, cello, Stewart Rose, horn, Gilles Vonsattel, piano, and Kenneth Weiss, a Long Island native, harpsichord. Onstage for the first time will be Ran Dank, an Israeli pianist, Alexi Kenny, a violinist and the recipient of a 2016 Avery Fisher Career Grant, and Mihai Marica, a Romanian-born cellist.

Locations, days, and times of the concerts vary, but the six “Core Classics” concerts take place on Sundays and Wednesdays at 6:30 p.m. at the Bridgehampton Presbyterian Church, the festival’s main venue. Tickets range from $35 to $75 for most concerts, $10 for students. Much more information, including a complete list of performers and works to be performed, is at bcmf.org, or 631-537-6368 after Sunday.

“I’m really excited about our anniversary, because in the old days, people said to us, ‘This will never work,’ ” Ms. Martin recalled. “And we were putting on only two concerts that first year. ‘Save your time and energy. Don’t put all your eggs in one basket.’ It’s not that I want to prove them wrong, but I’m so very happy that there is a place here for good music.”