Jazz on the Steps, a weekly program at the Southampton Arts Center that brings live music outside onto Job’s Lane, will feature Nestor Milanes, a pianist, and Steve Shaughnessy, a bassist, on Sunday at noon. The series is presented by the Jam Session Inc., which presents eclectic concerts with musicians from the East End and beyond. The concert is free.

This year’s Aviva Players concert will take place at the Montauk Library on Wednesday at 7:30 p.m. The evening will feature Karen Jolicoeur and Hillary Schranze, sopranos, and Mimi Stern Wolfe on piano. The free program will include songs, duets, and solos for voice and piano composed by May Aufderheide, Erwin Schulhoff, Mira J. Spektor, Mozart, and Gilbert and Sullivan.

Stanley Casselman rose to notoriety by responding to a challenge by Jerry Saltz, the provocative New York magazine art critic, but he remains a sought-after painter through his own process and creativity. His latest work is now on view at the Mark Borghi Fine Art gallery in Bridgehampton.

The challenge he answered and fulfilled was to make a work that looked like a Gerhard Richter painting. For Mr. Casselman, having worked with a squeegee himself, Mr. Richter’s style was almost second nature. In the end he made quite a few as part of the experiment, which evolved into a series or two. They ultimately achieved the effect of homage, but with a personal twist.

Since then, he has introduced more patterning into the acrylic paintings on canvas, and then went to the next level, applying acrylic paint through a squeegee on the back of silk screens so that they bleed through and become their own paintings. This is the series he is showing at Borghi, paintings that take their medium as support and recall old-school reverse-glass paintings. 

He places an additional layer of the polyester material underneath so that the negative space of the painting has a denser and more substantive feel. But the material also casts wavy patterns with light. Between the thin and thick layers, which he manipulates with the amount of pressure and paint he uses and the precise taped alleys that run through the compositions, his work exudes a strange energy that seems interrupted before it explodes, a controlled chaos.

The series called “Frequencies” refers to their origin as paintings and the chemical make-up of stars. It starts to get a little heady in the gallery, where the Richter references are still flying, even if under the radar. These are the works that have a more linear or zip-like quality to them from the masking tape he applies to create tight strips that resist paint.

In the “FM” series, the paintings are less structured and hemmed in by the bands of “Frequencies.” These compositions spread across the screens interrupted, if at all, with swathes of paint, not voids.

The artist wins the day with his use of color, rich and vibrant, and his mastery of manipulating paint in such a removed process. That he has control is obvious, but what he does with it, coaxing under layers out, creating patterns and designs, and even manipulating the squeegee based on the amount of paint it has remaining, all reveal an artist very particular and methodical in his approach.

That they are large-scale works underlines the lengths (and widths) he will go to to achieve his ends, making his own squeegees to suit his purpose. Although the work looks random and gestural, it is and it isn’t. His hand is once removed by the use of a tool with a proximity more like a rake than a palette knife.

His use of color highlights acrylic’s acid vibrancy. There is a density of application that almost rises to bas-relief, which is evident in a work like “Frequency F9V,” which is set in a silkscreen frame and reveals the layers when approached from the side. While completely abstract, the “Frequency” paintings seem to suggest scenes or objects, perhaps because the naked strips seem like they might be covering up something. In “Frequency A2IV,” with its dashes of red, it might be rose petals. In “Frequency A1VP,” it could be a cityscape in shades of blue or gray.

The Borghi installation makes the most of the painter’s vibrancy and manages to keep it from becoming too overwhelming. Works that complement and contrast each of their color schemes seem to find their way next to each other, and the singular works are given room to flourish.

It’s a perfect summer painting show, full of high-energy color, some nifty “How’d he do that?” ingenuity, vague and direct familiarity, and more. As of press time, the exhibition has no closing date, but should be on view for the next three weeks.

Mambo Loco will bring its classic music of Afro-Cuban and Puerto Rican origin to the outdoor terrace of the Parrish Art Museum in Water Mill tomorrow evening at 6 as part of the “Sounds of Summer” music series.

The Long Island band consists of Larry Belford, lead vocals and percussion; Cristian Rivera, vocals, percussion; Alfredo Gonzalez, trombone, violin, percussion, and vocals, and Bill Smith, piano and vocals. 

Tickets are $10, free for members. Guests would be wise to bring beach chairs or blankets as seating is limited.

The stars of “The Unmovers,” a popular series of Optimum TV commercials and YouTube sketches, will bring their stand-up acts to Bay Street Theater in Sag Harbor on Monday at 8 p.m.

The incompetent moving team consists of Joseph Vecsey, longtime host of Bay Street’s All Star Comedy Show; Vladimir Caamano, whose comedy reflects his roots in an immigrant Dominican family in the Bronx, and Leonard Ouzts, whose act draws on his Southern roots, his family, and current events. Anthony DeVito, a New York City comedian, will also perform.

Tickets are $30.

The Southampton Cultural Center’s popular “Concerts in the Park” series will kick off Tuesday at 6:30 p.m. with a performance by Nancy Atlas in Agawam Park. The 13 free programs, all of which start at 6:30, will alternate between the park and Cooper’s Beach.

The Lone Sharks will perform at the beach on Wednesday. Future programs will feature Danza Nova, the David Glukh Klezmer Ensemble, the AdLib Steel Orchestra, and Project Vibe, among others. The complete schedule can be found on the center’s website.

Ellen Johansen and Marlene Markard, classically trained pianists who live in East Hampton, will perform a concert of music by Fauré, Poulenc, Schubert, Ravel, and Gilbert at the Old Whalers Church in Sag Harbor on Saturday at 4 p.m.

Ms. Johansen teaches all levels of piano study as well as Musikgarten, a program of early childhood music education. Ms. Markard is a member of the Suffolk Piano Teachers Foundation and was recently licensed as a Musikgarten teacher. Tickets are $20 at the door.

Center Stage at the Southampton Cultural Center will hold open auditions for performances of Yasmina Reza’s four-character play “God of Carnage (A Comedy Without Manners)” on Wednesday and next Thursday at 6 p.m. in the center’s Levitas Center for the Arts. Auditions will begin promptly, and late arrivals will be seen at the discretion of Michael Disher, the director. Readings will be from the script. Performances will take place Oct. 13 through Oct. 30.

A pipe organ that had been silent for three decades is now making music again at Most Holy Trinity Catholic Church in East Hampton, thanks to the initiative of the church’s pastor, the Rev. Donald Hanson; the generosity of two of its parishioners, and the skills of a number of organ technicians and craftsmen.

The instrument was originally built in 1963 for the St. Pius X Preparatory Seminary in Uniondale by the Schantz Organ Company, but when the seminary closed in 1984 the organ was no longer used. The building was vacant until a few years ago, when it was sold. Father Hanson then asked the bishop of the diocese if the organ might be used at Most Holy Trinity, and the bishop agreed.

With only two weeks’ time to complete the move, Elsener Organ Works of Deer Park dismantled the many pipes and mechanical parts of the organ and shipped it to East Hampton, where it was stored on the church’s property in a building known as “the barn.” It sat there for several years while plans for the instrument came together.

   The organ had to be reconfigured to fit the new space and needed a new windchest on which to seat the pipes and a new blower for the wind supply. There was also a desire to enhance the sound of the pipes with more tone color and flexibility by adding digital sounds as well.

The project was made possible by the estates of Mark Havers and John Ross, who were domestic partners and longtime members of the church. In the 1960s they formed Ross-Havers of New York City, a company that sold collectibles, fine gifts, and home accent pieces, and later rebranded it as Haut Papier in Bridgehampton.

Father Hanson, who has a deep interest in music, engaged Ray Henderson, an organ consultant from Carle Place, to advise on the myriad details of carrying out the project, from both mechanical and musical points of view. The two men knew each other from earlier days when Mr. Henderson took classes from Mr. Hanson at the seminary. 

In order to redesign a visual layout for the pipes against the back wall of the church and around the rose window; build a new windchest, which is the mechanical center of the instrument, and do the tonal refinishing so that the pipes sound appropriately in their new acoustical setting, two other companies worked together: Robert E. Gladden Associates of Merchantville, N.J., and the Atlantic City Pipe Organ Company.

The organ has five complete sets of pipes, which are known as “ranks,” each one having a distinct tonal character, and each made of different materials and with different shapes. There are a total of 365 pipes.

Although the sound of the pipes forms the solid backbone of the organ’s character, many additional tone colors have been added by the Walker Technical Company, a firm that specializes in “digital voice enhancements for pipe organs.” There are speakers mounted among the pipes that allow the sounds to blend together seamlessly.

A wooden case that the organ pipes sit on, which juts out from the rear wall of the church, was constructed by James Sullivan of Barn Board Builders in East Hampton, also a member of Most Holy Trinity, to blend in with the console and existing woodwork in the church.

The organ has been playing now for several months, but various mechanical and tonal details are still being tweaked.

John Bennett, the church’s music director and organist, demonstrated the instrument one evening recently, showing the full range of the tonal palette and dynamics and delighting in its effects. He has been at the church for over 25 years, during which time he has played for a great many Masses and public events on an electronic instrument, which has now been placed in the church’s parish hall. He said that the sound of the pipes gives strong support to singing in the church.

“I find it so much easier to practice and to accomplish varied sound with this fine pipe instrument. Each Mass is a wonderful experience for me at the console,” Mr. Bennett said.

His sentiments were echoed by two parishioners and choir members. “We are so very fortunate to have a pipe organ in our church. We are truly blessed,” said Barbara Mattson.

Carol Byrne added, “I find the sound of the pipes extremely, wonderfully stimulating and invigorating. It certainly adds dimension to the musical sound, our worship, and spiritual praise.”

There will be a dedication and inaugural recital of the organ on July 17. The program will be played by Mr. Henderson, and will include music by J.S. Bach and Max Reger, and the masterwork toccata by the 20th-century French composer Henri Mulet, “Tu Es Petra” (“Thou Art the Rock”). It will mark the completion of a remarkable musical project and the beginning of a lifetime of new music-making in the community.

You’ve heard of the classical “three Bs” — Bach, Beethoven, and Brahms. Well, there are more than three notable composers whose last names begin with the second letter of the alphabet, and you can include Victoria Bond in that extended list. Ms. Bond, a well-known conductor and music commentator, is also a composer of considerable ingenuity.

The pairing of “The Reluctant Moses,” her new commission, with an old but little-known commission, the Mass in C by Beethoven, was the subject of the stirring 70th anniversary finale concert by the Choral Society of the Hamptons and South Fork Chamber Orchestra under the estimable direction of Mark Mangini, which took place Saturday evening at the 172-year-old Old Whalers Church in Sag Harbor. 

I have known Victoria Bond and her work for many years and she has conducted my music. I was pleased to have an opportunity to hear this work in its world premiere. 

For a subject, Ms. Bond reached back to the Old Testament scene in which Moses encounters the burning bush and the voice of God commanding him to lead his people out of Egypt. In this highly successful modern telling of an ancient story, Moses is a bass accompanied by a bass (a string double bass, that is). 

In fact, bass sounds are everywhere in this piece, which includes a bass clarinet, a French horn imitating a bass tuba (according to the composer, intended to evoke the ancient Hebrew shofar), and, of course, the bass section of the chorus which, along with the soprano, alto, and tenor sections, takes the role of the voice of God. The use of bass sounds adds a suitable gravity, but this is, by no means, a bottom-heavy piece. There is a striking and imaginative use of a wide palette of orchestral sound coupled with strong vocal writing that culminates in an emotional, contrapuntal setting of the Ten Commandments. 

The bass singer, Joseph Charles Beutel, was not the older, stern Moses we associate with the Old Testament prophet but rather a more youthful, hesitant figure whose dignity was enhanced by John Feeney’s knobby, insistent double bass interventions. Playing God in the burning bush to Ms. Bond’s highly developed musical setting was not an easy assignment for the chorus, but they handled it with the strength and musicality that it deserved. 

The soloists for the Beethoven Mass in C, which followed, were Ileana Santamaria, soprano, Charlene Marcinko, mezzo-soprano, and Sean Christensen, tenor, in addition to Mr. Beutel. 

The Mass in C (not to be confused with Beethoven’s later and much better-known Missa Solemnis) was commissioned by Nikolaus II of Esterhazy. This Austro-Hungarian aristocrat partially restored his grandfather’s famous and influential musical establishment and started a program of commissioning a new setting of the Catholic Mass every year. Haydn wrote no less than six  Masses for him (or rather, for his wife); after Haydn retired in 1802, the annual job went to other composers. Beethoven’s turn came in 1807, and he responded magnificently with an imaginative and moving work that Nikolaus hated. Beethoven’s Mass, he said, was unbearably ridiculous and detestable; he was not convinced that it could ever be performed properly. Beethoven left town in a huff, and the piece fell into relative obscurity.

Nikolaus was wrong, and the Hamptons chorus obviously outdid the Esterhazy chorus. The Mass in C was performed more than properly on Saturday night, and its highly original score was revealed as a power house of the composer’s middle period, well deserving of revival. 

Beethoven was already becoming quite deaf, and his vocal writing, often off the charts and a challenge to any chorus, had energy, clarity, and lyricism in this performance. The four soloists — deftly woven into the choral and orchestral textures — made an excellent ensemble, while the orchestra, struggling somewhat due largely to the small number of strings, was equally lively and lyrical in a work that alternates the hammer blows of the Fifth Symphony and the pastorale idiom of the Sixth, both roughly contemporaneous with the Mass in C.

I should add that there was just enough room in the church’s altar area to accommodate the orchestra (with its 11  strings) along with the conductor and  four soloists. Even the timpani had to be placed off to the side at audience level, and the 56-voice chorus was necessarily divided between the church balconies, which reach all the way to the front of hall — the high voices on the left, the lower voices on the right. This produced an antiphonal effect, perhaps not quite intended by the composer but not ineffective, and it gave the chorus a presence and immediacy quite different from the usual positioning of choral singers on stage behind the orchestra. Mr.  Mangini, the longtime director of the Choral Society (since 2001), provided solid musical leadership for both Bs.

Eric Salzman is a composer and writer working mainly in the development of a new music theater. His most recent major theater opera, “Big Jim and the Small-time Investors,” is about a con man who has convinced people to invest in his new invention, a virtual-reality machine. Mr. Salzman’s music can be found on the Labor/Naxos label, and he is the co-author, with Thomas Desi, of “The New Music Theater: Hearing the Body, Seeing the Voice.”