Thursday, April 25

BOYS LACROSSE, Brentwood vs. South Fork Islanders, East Hampton High School, 10 a.m.

SOFTBALL, Miller Place at East Hampton, 10 a.m.

Friday, April 26

BASEBALL, Harborfields at East Hampton, 4 p.m.

Saturday, April 27

TRACK, East Hampton boys and girls at Westhampton Beach invitational, from 9 a.m.

BOYS LACROSSE, South Fork Islanders vs. William Floyd in Lax for Autism tournament, Sachem North High School, 5 p.m.

Sunday, April 28

YOUTH RUGBY, St. Anthony’s vs. Section XI Warriors, Mattituck High School, noon. 

Monday, April 29

SOFTBALL, East Hampton at Sayville, 4:30 p.m.

Tuesday, April 30

BOYS TENNIS, Southold-Greenport at East Hampton, 4:30 p.m.

GIRLS LACROSSE, Elwood-John Glenn at East Hampton, 5 p.m.

BASEBALL, East Hampton at Islip, 4:30 p.m.

Wednesday, May 1

BOYS LACROSSE, Patchogue-Medford vs. South Fork Islanders, East Hampton High School, 5:15 p.m.

BASEBALL, Islip at East Hampton, 4:30 p.m.

SOFTBALL, Westhampton Beach at East Hampton, 4:30 p.m.

BOYS TENNIS, Commack at East Hampton, mandatory nonleague, 3:30 p.m.

When Scott Bradley, in answering a question at Montauk Downs Friday afternoon, said he thought his 12-year-old son, James, who recently played in the national Drive, Chip, and Putt finals at Augusta National, had shown “steady improvement” in his game of late, James shook his head.

“I wouldn’t say that — my game’s improved drastically in the past couple of years,” he said brightly.

It was good to hear, for whatever disappointment James may have initially felt on finishing ninth among the 10 regional qualifiers in the aforementioned national contest — a result to a degree foreordained owing to the fact that he was up against taller and heavier, and in many cases more experienced, competitors in the boys 12-13 division — had obviously vanished.

He had done “okay,” James said when questioned. There was not much more he could have done; nothing, really. He had done his best, he said with his customary equanimity, with the assurance of someone who knows that the best is yet to come.

“He was a winner just qualifying for the nationals,” said his father, who regularly plays with his son at the Downs. “Gina and I were very proud of him. He was outgunned, through no fault of his own. I keep reminding him that he’s only 12.”

“He did very well . . . it was an awesome experience,” said Kevin Smith, James’s coach and the Downs’s longtime head golf pro, who went down to Georgia with the Bradleys. It was, he told his charge, just a matter of time, that as he grew taller and stronger the requisite balance and stability — and the longer drives — would come. The mental equipoise, so necessary when it comes to succeeding in athletic competition, the Springs seventh-grader seems already to have. 

 “My coach has been so helpful — he’s been a huge part of my success,” volunteered James, who practices at the Downs six days a week.

“In the middle of the winter,” Scott Bradley interjected, “you’ll see Kevin and James sweeping the snow off the mats and Kevin working with him for an hour, four or five days a week.”

“I can’t thank him enough,” said James, who was wearing a blue Drive, Chip, and Putt windbreaker and a white Drive, Chip, and Putt cap.

Scott said his son liked playing in front of a big crowd — the Golf Channel televised the Drive, Chip, and Putt finals. All the attention hadn’t thrown him off. “He was able to stay focused — he can block everything out.”

Well, not all the time, said James. He had to work on focusing better when not in tournament situations.

Sometimes he got frustrated, they agreed, but, as Scott said, “you have to let it go and move on to the next shot.”

“Play it as it lies,” this writer said.

“‘Take dead aim,’” said James’s father, quoting one of the late Harvey Penick’s famous maxims.

“I’ve got a lot of events planned,” James said, anticipating his interviewer’s next question. “I’m not looking to win the bigger ones, the [four-day] American Junior Golf Association events, but I want to do them and get points so I can play at an even higher level. I’m also playing 20-plus Met P.G.A. junior golf tournaments. . . .”

“Twenty?” said his father.

“Well, in as many as I can, throughout the summer. I’ll try to win those. I’ll play the bigger events to get experience.”

And what about the Augusta course? “It was amazing,” said James. “The grass was dead perfect, nothing was out of place.” 

And there were so many rules. Very strict. But he had gladly put up with them. 

He had met Bubba Watson, Rich Lerner and Frank Nobilo of the Golf Channel, Fred Wrigley, Augusta’s chairman, Condoleezza Rice, the former Secretary of State, and Annika Sorenstam.

He and his parents and Smith had stayed to see Monday’s practice round. Indeed, it had been a great experience.

And did he still want to win the Masters some day, as he has said in the past?

Oh, yes, James said in parting.

Meanwhile, he will do everything he can to qualify for next year’s 12-13 finals.

“He’ll have his growth spurt,” Smith said the next day during a telephone conversation. “We’ll keep on working on things and see where it takes us.”

Noah Avallone’s snowboarding résumé continues to grow, and to astound. The 11-year-old part-time Montauker has finished no worse than second in United States of America Snowboard and Freeski Association national championships over the past five years — a win crowning his latest competition, at Copper Mountain in Colorado at the end of last month.

It’s been quite a run: He was second in the Ruggie (7-and-under) division in 2015, first in the Grom (8-to-9-year-old) division in 2016, first in that division in 2017, second in the Menehune (10-to-11-year-old) division last year, and, as aforesaid, a winner this year.

A snowboarder first and foremost, Noah, whom this writer visited at his parents’ Navy Road house in Montauk Saturday, is also a top-notch surfer — he’s an Eastern Surfing Association all-star — and a skateboarder. A paddleboarder too.

He excels in all the snowboarding events — halfpipe, slopestyle, slalom, giant slalom, and boardercross — a smorgasbord of events that he will have to pare down eventually, Noah’s father, Mike, said. 

“He spreads himself thin. He has to train in each one, and there’s less and less time to train. At the higher level there will be scheduling conflicts too. Usually, halfpipe and slopestyle are together, and the racing events — slalom, giant slalom, and boardercross — are completely separate. He won’t be able to do them all; it will make it that much more difficult to excel.”

“By the time he turns 16, if he wants to turn pro, he’ll need to have one or two events max.”

Asked if there are academies for aspiring snowboarders — the Avallones, who also live in Long Island City and have a house in Jamaica, Vt., where they spend winter weekends — Noah’s father answered in the affirmative. There were a number of them, he said, at Killington, Stratton, Okemo, Mount Snow. . . . 

“Most of the kids in the national top 10 are either homeschooled or going to academies, where they snowboard in the morning and take classes in the afternoon. You get more time on the snow, but they’re expensive . . . the main benefit being the education they receive, of course.”

Noah landed his first 720 (two full rotations) in competition in the slopestyle event this year. “You progress in increments of 180 degrees. . . . Shaun White does 1,440s, four full rotations,” said the elder Avallone.

The Avallones, father and son, had set three goals this year, all of which have been met. The first was to repeat as the Next Gen (under-11) winner in the Mount Baker (Wash.) Legendary Banked Slalom, which Noah did in February. The second was to get invited back to the Burton U.S. Open Junior Jam halfpipe competition in Vail, Colo., and the third was to win an overall national championship. Check, check, and check.

“He was 13th out of 18 in the Junior Jam, which included kids as old as 14,” said Mike. “Aside from another 11-year-old, one 10-year-old, and one 9-year-old, he was the youngest kid there, but it was great because he was hanging out with the greatest riders in the world. His idols were there and all the best coaches in the world. It used to be the most prestigious snowboarding event in the world, before the Olympics and X Games came on the scene. It still is considered by many as one of the greatest events in snowboarding. You can see the replay of Noah’s runs on YouTube.”

At the USASA national championships, Noah won two of the five events, the slalom and giant slalom. He was fourth in the halfpipe and sixth in slopestyle. He crashed in boardercross — a downhill in which four competitors race alongside one another on a lightly banked course — the result of having been run into, which was too bad, said Mike, inasmuch as his time-trial time had been the fastest.

And next year’s goals? “To get invited again to the Burton U.S. Open Junior Jam again, to race again in the Mount Baker Legendary Slalom, and to compete for the USASA overall championship again,” said Noah’s father. “He’ll be moving up to Breaker Boys, the 12-13 division. He went up against 75 kids this year; next year, it will be almost 100. It gets tougher every year.”

It should be added that Mariella Avallone, Noah’s 9-year-old sister, placed third in the nationals, in the Grom division. 

“She mostly competes against herself in the southern Vermont series,” said Mike, “but there were more girls to compete against at the nationals, 21 of them, which was good because going up against your peers gives you a chance to see where you stand, and it gives you a chance to make friends too, while you’re waiting for your turn. There was a girl from China, a 7-year-old, who was unbelievable. China’s making a big push in snowboarding. They’re having the winter Olympics in Beijing in 2022.”

Noah’s ultimate goal is to be an Olympian, perhaps in 2026. He’ll be too young three years hence.

No slouch in surfing, Noah won the E.S.A.’s U14 Menehune Longboard competition in September at Nags Head, N.C., and received the sportsmanship award, as well, for having helped a fellow competitor safely to shore after his leash had broken in heavy surf during a heat. 

Whether it be snowboarding or surfing, “He’s going to try to do as well or better than he has in the past,” Noah’s father said, “and continue to have fun and improve. He’ll try to be as good as he can be and, hopefully, that’s enough to win.”

Fish crows arrived three weeks ago and have already taken over the South Fork population centers, including Sag Harbor, Southampton Village, East Hampton Village, and Montauk. What was an extreme rarity 35 years ago has now become a rite of spring in the Hamptons. 

Most of us can’t tell the difference between a fish crow and a common crow, the species that has been calling to us here since time immemorial, but once you hear that nasal kah-kah-kah, you’ll know what I’m talking about.

The fish crow is like a toy poodle compared to its bigger look-alike. It’s all black, like its bigger brother, and is migratory. It disappears in the middle of fall and arrives back shortly after the robins, ospreys, grackles, and red-winged blackbirds. The common crow stays here the whole year round. It is not a typical migrator.

If you ride through Main Street of one of our villages these days and see two or more crows fly across the street the way pigeons do, you can bet you are seeing fish crows. They are the urban equivalent of common crows and don’t stray far from the Atlantic Coast. 

Common crows flock up before and after the breeding season, which runs from April through July, but fish crows flock up throughout the entire year. They often nest in proximity to one another high up in trees. It’s almost impossible at any time today to get to Havens Beach in Sag Harbor during April, May, June, July, or August and not encounter one.

Like the horde of two-footed birds that stream here from the west during the warm months, fish crows love to be at the seashore or near the coast. That’s where they spend most of their time while feeding.

Black-colored bird species are relatively rare across the globe. We also have ravens, two species of vultures, cowbirds, two species of grackles, red-winged and Brewer’s blackbirds, cowbirds, and starlings.

Coots and American scoters (also called coots locally) are black, as are our two species of cormorants, the rare black rail, and two species of tropical anis. An advantage of having black feathers is that they have little market value, unlike the whitish fluffy feathers of snowy egrets, the downy feathers of eiders, and so on. Plume hunters were once as common as game hunters in America, and they weren’t after crows or ravens.

All of our black birds and almost all of those on the other six continents are flockers, and almost none of them sing. The red-winged blackbird is an exception. Why is that? It’s hard to say. Perhaps black species are more utilitarian than the songbirds. Why spend your time singing and defending a territory four or five hours a day when you could be out feeding, maybe even robbing a songbird’s nest or two while you’re at it.

It’s not unusual to find crows feeding alongside grackles and red-winged blackbirds in local fields during the nonbreeding season. They all seem to get along well.

And what about the European starling? In Europe they often migrate, but not in America, where they have been established since the mid-1800s. They tend to keep to their own and form incredible flocks that are as maneuverable in the air as herring and shad schools are in the water. For some reason, the starling flocks in Europe are larger, more gregarious, and more precise in their maneuvers than they are here.

We on Long Island are lucky. We have most of North America’s black-feathered species, and one doesn’t have to carry a bird book or sing to them using a smartphone to identify them. They stand out in their blackness.

Larry Penny can be reached via email at [email protected].

Saturday morning dawned damp and dreary. The clouds hung low as I wiped the sleep from my eyes and peered out to the open waters to the east from my bedroom window. The rain stopped around 4 a.m., as best as I could recall from my intermittent sleep that night.

But some residual fog lingered as I climbed aboard my Nova Scotia-built boat a few hours later to take the hourlong ride to my lobster traps, which I had dropped into the water for the first time this season, about a week earlier. The conditions were marginal, but it was safe to travel. My anticipation of a good catch, and an even better dinner that same night, loomed large in my head.

Chugging along at a steady 14 knots with the radar on, I reached behind my helm seat to retrieve my logbook. My ledger records a number of important items for me, including fuel consumption, water temperature, fishing notes and anecdotes, and my entries for the amount of lobster landed every time I check on my traps. It’s a history book that spans nearly 20 years. Lots of ink noted on those well-worn pages.

Looking down, I was surprised to see that I had not put my traps in until the end of April last year. I was surprised, and scratched my head. I could have sworn that I had them on the soak much earlier. A month earlier, in fact. I chalked up my memory lapse to the drawbacks of getting older. Memo to self: Don’t assume you remember everything correctly.

Passing several large flocks of dive-bombing gannets that were likely feasting on early-arriving schools of alewives, herring, bunker, or mackerel, I reached my destination, where my water temperature gauge showed a reading of around 42 degrees. Cold, for sure, but balmy to the seemingly dozens of seals that happily bobbed up and down in the easterly groundswell. 

From the curious look on their faces, it appeared that they welcomed my presence that morning. They seemed happy to see me. It was nice to have some company out there, as long as they did not damage my traps in trying to extract a lobster for their supper. Seals sometimes have a nasty habit of tearing apart the twine and netting that surround the metal-framed structure to pursue their quarry. Cute as they are, they have a ravenous appetite.

My first trap was directly ahead of me, and, with anticipation building, I secured my boat hook and quickly latched on to the brightly colored buoy that was being pulled downward by the strong incoming tide. Not knowing what to expect, I winched up the 45-pound trap from the depths below. As with a grab bag at an office holiday party, you just never know what you’ll get. It’s the same with lobsters.

As misfortune would have it, it was a bust except for an undersize, egg-bearing female. I quickly released her. The next trap contained only a larger spider crab still stubbornly holding on to the bait bag. Sighing deeply, I quickly surmised that this was not a good omen for the season. Was this an early sign that it would be a poor one?

But my faith and hope were quickly restored when my next trap contained three beautiful, hard-shelled lobsters, all above the minimum legal size. Dinner was safely secured. As were the negative thoughts that previously ran through my mind.

With seals periodically popping up above the water for a better look, the remainder of my traps contained a nice amount of lobster. Despite the slow start, it ended up being a successful trip and a solid start to the season. It was also a welcome sight to see a few undersize lobsters as well as about a half dozen bearing eggs. A sign of hope for future catches.

Last year, the season was rather consistent until I removed my traps in mid-September. Some trips were better than others, but I was never skunked. Fingers are crossed for continued success. 

The Fishing Scene            

As for the fishing scene, angler participation remains rather low, but folks are anxiously gearing up for the opening of porgy season, which commences on Wednesday, followed three days later by the start of summer flounder, commonly known as fluke. 

“With the weather getting warmer, people are getting more anxious to wet a line,” observed Harvey Bennett, the longstanding, Bonac-born-and-bred proprietor of the Tackle Shop in Amagansett. “Some small stripers are showing in the bays and the ocean surf, and I’ve heard rumors that some squid have shown up in Fort Pond Bay. Porgies also on the move.”

Bennett added that the fishing in freshwater has been excellent of late. He reported that walleyes up to six pounds have been landed in Fort Pond in Montauk.

“As we are surrounded by salt water, many people overlook the freshwater fishing we have on the East End,” he said. “It really is excellent and very underappreciated.”

While striped bass season formally opened last week, action over all has been rather slow. Small stripers can still be had in the back bays, creeks, and estuaries, but fish over 28 inches, the minimum length to retain one, are probably about two weeks away from arriving in any catchable numbers.

“Lots of gannets flying about, so there clearly is a lot of bait entering the bays,” said Ken Morse at Tight Lines Tackle in Sag Harbor. “It’s only a matter of time before larger striped bass, and other species, arrive on the scene.” 

Morse was enthused that the opening of porgy and fluke fishing is right around the corner. “With flounder action almost nonexistent, April around here is pretty quiet these days. Fluke and porgies are real crowd pleasers. I’m hoping for good fishing when they both open up.” 

I soundly echo his prayers.

Morse added that the action on trout in various Southampton ponds has been productive of late. “I’ve received some good reports,” he said. “The D.E.C. stocked several ponds a few weeks ago, and the fishing has been good.”

For aficionados of codfish, a few have been found east of Montauk. The Simple Life, a charter boat under the guidance of Capt. Tyler Quaresimo, found a good amount of fish for his fares last week on two separate trips in deeper waters. It’s not too early to hope that a spring run of the popular fish will return. 

After all, spring is a time of rebirth of life and fishing.

We welcome your fishing tips, observations, and photographs at [email protected]. You can find the “On the Water” column on Twitter at @ehstarfishing.

“There is a calla lily thing going on in my life,” said the artist Priscilla Heine, about her first painting of that flower, whose name derives from the Greek word for beautiful. Dating from 1991, the painting, a colorful, expressively brushy still life, was inspired by a sensory experience in a life full of them.

In the Spanish Pyrenees on their honeymoon in 1988, Ms. Heine and Christian Majcherski found themselves in a restaurant on a Sunday morning. “There were about 50 tables, and each one had this huge vase of wild calla lilies. There were these men in the kitchen who were all cooking and drinking sherry and talking. I could smell everything and hear everything.” The experience has fed into her work ever since.

Ms. Heine’s painting and sculpture emerge from a deep sensual and imaginative connection to the natural world and a willingness to follow where her instincts lead without always knowing the destination. The result is a body of work heedless of the distinctions between abstraction and representation and between exterior and interior worlds.

Born and raised in Manhattan, she was “super young” when she started to draw. “As a child, I lost myself in the work. Following the crayon, I was able to tune everything out and make sense of something else — which is how I continue to work.” 

Several months ago, though, she was questioning the direction of her art. “I was feeling a little like, where am I going, and I said to myself, ‘Just get down there and be like when you were really little, take your crayons and let it all go and just do the work.’ ”

Ms. Heine and Mr. Majcherski, who was trained as an engineer, live in Northwest Woods, on the edge of Cedar Point Park, in a sprawling modern house and separate studio they built themselves on three wooded acres purchased in 2000. “My connection to nature and this beautiful landscape has deeply informed the development of my work,” she said, citing as well “the inherent creative aspects of this community, rooted in the arts, nurtured by nature and the light, which infuses everything out here.”

After graduating in 1979 from the Boston Museum’s School of Fine Arts, she moved to Glover, Vt., in the northeast of the state. “I needed a place to think, and I went there because it was the only place I could afford.” She bought land and started to build a studio; it resembled a potato barn, but with a dirt floor and no walls.

In the fall of 1980 she moved for a year to the South Fork, found work as a teacher’s assistant at the Hampton Day School, and rented James Rosenquist’s former studio in East Hampton, where she produced her first post-college body of work. She had early memories of the area because her parents had rented in Amagansett in the early 1960s.

After the school year Ms. Heine spent the summer in Vermont and then moved to the city, settling into a loft on 10th Street between Avenues C and D — Ground Zero, during the ’80s, for the city’s cutting-edge cultural life. In 1983 she met Mr. Majcherski, who had an old-car-and-motorcycle shop on the Lower East Side. They married five years later.

After their first son, Tomas, was born in 1989, she felt uneasy about the expenses and challenges of raising a child in New York. The couple decided to rent the loft and move to the East End. First they rented, then they bought a house in foreclosure, then they sold it to purchase the land in Northwest.

When not in East Hampton, they divide their time between Vermont and Uruguay. Mr. Majcherski emigrated there from Poland when he was 13, and lived there through his 20s. From his mother, they have inherited apartments in Montevideo and Punta del Este, and have spent a lot of time in Uruguay over the years.

This past winter, Ms. Heine found a gallery in Uruguay where, she said, she will be able to fulfill a longtime dream: to create an installation inspired by her Pyrenees honeymoon. In the years since, she has been alternating sculpture with painting, first filling empty beauty-product packaging with rags and old clothes, then lathering the result with paint.

After taking top honors in Guild Hall’s Artist Members exhibition in 2007, she began to make calla lilies of papier-mâché, reinforced with wire, covered with fabric, and finished with gesso, which takes paint well and is relatively indestructible. 

Of her plans for the Uruguay gallery, she said, “My thought is, you walk into a room with hundreds of calla lilies, real ones. Then it would morph into the sculptures. Then, as you’re walking through, you would hear and smell the cooking from a line of tagines.” 

She showed a visitor a Lazy Susan she’d made from an upside-down tagine, a Morrocan pot. “I want the viewers to have an experience that is completely on their own terms, and ingest it. And I think the flowers and the food will bring them to that place, and then I slip my art in.”

Despite the profusion of lily sculptures in her studio, the artist described herself more as a painter than a sculptor. Her work is characterized by lush, vibrant color and complex layered surfaces. In an essay on her work, the curator Janet Goleas wrote, “Among dense tangles and strokes of pigment, bare linen and swirls of charcoal, her imagery erupts before you as painterly moments coalesce to create a whole.”

Of a 2014 painting, “Engine Room,” Ms. Heine said, “I think the image was a surprise and incredible discovery as it came about. It still surprises me, and I think that’s how I deal with finding images as an abstract painter now. My work has the same mystery for me, where it comes from and how it forms, and I think that’s part of what keeps me going.” 

Another epiphany of sorts took place on a river in Vermont, watching water lilies open. “At different times in my life, when I worked on very psychological paintings, the lily pads became for me potholes of desire or potholes of longing. The lily would be a way into a piece, a road to follow that becomes the possibility for many roads.”

She works on several paintings at the same time. “My paintings are layered; some of them are very layered, and have been worked on for a long time. But what I’m always looking for is simplicity.” Of a painting she’s returned to many times, she said, “I would never have arrived at what it eventually became if I hadn’t just worked and worked and fooled around. Each mark that goes down is only because somehow you’re being led somewhere, and it’s to try and find something.”

Last year was the summer of stories, but this year Guild Hall has dubbed its high season of programs “the summer of sound.” Tickets go on sale Wednesday for the venue’s full schedule of concerts, plays, dance performances, comedy, talks, and more. 

“We have a really adventurous and dynamic season in regard to music this year,” Josh Gladstone, the theater’s artistic director, said last Thursday. At the same time, the preferences and interests of various communities on the South Fork are being addressed, “aiming for gratitude and giving back. There’s really something for everybody.”

Although many of the performances will be highlighted or examined in more detail closer to their dates, some of these tickets will be so hot they will disappear before eager fans can get to them. Here is a brief sampling. The whole schedule, with tickets, prices, dates, and times, is available on Guild Hall’s website.

This season’s lineup includes the band Dawes, Buddy Guy, David Sedaris, Roseanne Cash, a play reading starring Alec Baldwin, Chris Bauer, and Rob Morrow, the Kronos Quartet, two shows composed and performed by Philip Glass, and the Allman Betts Band.

Three of those concerts are part of the Guitar Masters series, which returns this year over the weekend after July 4. On July 5, Buddy Guy, “the last great blues artist of the 20th century era, who is now 82 years old,” will perform with a “monstrous band,” Mr. Gladstone said. “It’s going to be a big one.”

On Saturday of that weekend, the Allman Betts Band, featuring the sons of Gregg Allman and Dickey Betts, will play with a lineup that includes Devon Allman, Duane Betts, Berry Oakley Jr., Johnny Stachela, R. Scott Bryan, and John Lum. Concluding the weekend will be Roseanne Cash and Band with a show titled “She Remembers Everything,” a collection of songs “that reckon with a flawed and fragile world.”

On July 25, Dawes, a California-based folk rock band, will be part of G.E. Smith’s Portraits series. “We’re already getting calls on that,” Mr. Gladstone said. He added that the interest so far is on par with the Avett Brothers concert, one of the most sought-after tickets last summer. Other artists in the series are Loudon Wainwright III and John Wesley Harding on June 28, and Amy Helm, Levon Helm’s daughter, with Tommy Emmanuel on Aug. 13.

Another perennially hot ticket is David Sedaris, who will return for an evening of readings from his essays of piercing social critique on Aug. 2.

Eugene Pack’s “Stan the Man” will be given a staged reading by Alec Baldwin, Chris Bauer, and Rob Morrow on two nights, July 11 and 12. The fast-paced comedy about three hard-driving guys at a leadership conference is not unlike a David Mamet play in its pacing, according to Mr. Gladstone, who will direct the reading, “but funnier, with a lot of comedic one-upmanship between the three guys.”

Philip Glass will bring his “Works for Piano” to the theater on Aug. 17 and 18. Although each night will offer different programs, each will include recent compositions and new arrangements of classic Glass works. The concerts will feature two guest pianists, Anton Batagov and Jenny Lin.

As with Yo La Tengo last year, Sam Green will offer “A Thousand Thoughts,” a “live documentary” of the Kronos Quartet, screening archival footage and recorded interviews along with live narration (by Mr. Green) and live accompaniment by the subjects. The June 21 show features interviews with Mr. Glass, Steve Reich, Tanya Tagaq, and Wu Man. 

“This is our big June show,” Mr. Gladstone said. “It was on a lot of critics’ top-10 picks for 2018,” and a coup to get again this year. “I know those who came last year got a kick out of Sam Green and his ironic delivery.” Kronos is a string quartet based in San Francisco that plays mainly contemporary, classical-style music. The event is “a rare meteor passing through our orbit,” Mr. Gladstone said without apparent irony.

But of course there’s a bunch more. An evening of flamenco fusion music and dance will open Memorial Day weekend on May 24. Members of the New York Philharmonic will return for a concert on July 13. The New York City Ballet comes back for an evening of highlights from their repertory. The Hamptons Dance Project will bring American Ballet Theater dancers out for five days of residency and two nights of performances. Questlove is back on July 28 and Aug. 4, with an unconfirmed wish list of interview subjects that are wildly rumored to include Bill Murray and Lin-Manuel Miranda.

Also on the schedule are salutes to Sondheim, Barbra, and Django, with further concerts of doo-wop, Cuban boleros, Indian classical and folk music, and, yes, even Danish klezmer.

Among the guest rentals to watch for are a benefit concert being organized by Planned Parenthood with a still-unannounced headliner, and a benefit for celiac disease that will feature Colin Jost from “Saturday Night Live” and music by the Wallflowers.

And this is just scratching the surface.