On Sunday, July 5, 2026, the Boston Symphony Orchestra (BSO) premiered Philip Glass’s latest masterpiece, Symphony No. 15 “Lincoln,” at its summer home in Lenox, Massachusetts. The eight‑movement work, composed between 2021 and 2023, couples a solo baritone with a full orchestra to present a sonic portrait of the 16th President, drawing directly from Lincoln’s own speeches and writings.
The premiere was conducted by Karen Kamensek, who has known Glass for three decades. “Glass made space for Lincoln to speak for himself,” Kamensek told The Boston Globe. “The baritone’s words are contemporary even now, visionary, and a reminder that the values he championed are still relevant.”
Baritone Zachary James, who portrayed Lincoln, highlighted the unique challenge of navigating the spoken and sung passages. “Saying Lincoln’s words without the pressure of singing allows you to let the emotion surface,” James said. “That’s what made the performance feel so authentic.”
A History of Lincoln in Glass’s Music
Lincoln has appeared in several of Glass’s works before, including The Civil Wars (collaboration with Robert Wilson, 1984) and the opera Appomattox (2015). In The Perfect American (2013), an animatronic Lincoln engages in a duet with Walt Disney, illustrating Glass’s long-standing fascination with the president’s legacy.
Glass himself explained the inspiration behind Lincoln: “His legacy of holding the country together in a period when it was tearing itself apart seemed an appropriate subject to consider on our country’s 250th birthday.” The piece therefore not only honors the man but also reflects on the ongoing challenges of American unity.
The Controversial Withdrawal from the Kennedy Center
The symphony was originally slated for a world premiere with the National Symphony Orchestra at the John F. Kennedy Center. In January 2026, Glass announced he was withdrawing the premiere in protest of the Kennedy Center’s recent board changes and the political branding under President Donald Trump’s influence. Glass’s statement, posted on social media, read:
“Symphony No. 15 is a portrait of Abraham Lincoln, and the values of the Kennedy Center today are in direct conflict with the message of the Symphony. Therefore, I feel an obligation to withdraw this Symphony premiere from the Kennedy Center under its current leadership.”
The move was widely covered in the arts press, with many commentators viewing it as a rare instance of a composer using a high‑profile event to make a political statement.
The Tanglewood Program
The BSO’s performance was paired with a suite of John Williams’ music from the Steven Spielberg film Lincoln and a live rendition of Aaron Copland’s Lincoln Portrait, narrated by Alec Baldwin. This juxtaposition highlighted how Lincoln’s story continues to inspire composers across generations.
Musical Analysis
Glass’s signature repetitive structures are evident, but the symphony deviates from his usual minimalism by integrating spoken text. The baritone’s passages are interspersed with orchestral interludes that reflect the moods of Lincoln’s speeches, from the solemnity of the Emancipation Proclamation to the resolve of the Gettysburg Address.
Kamensek described the work’s ending as “long, quiet, sustained chords” that “feel like columns of sound,” echoing the pillars of morality and values that underpin society. She urged musicians to focus on these sonic pillars, thereby giving the audience a “clear mind to take from it what they will.”
Audience and Critical Reception
The concert attracted over 1,500 listeners, a mix of longtime BSO patrons and new audiences drawn by the high‑profile collaboration. Critics praised the emotive power of James’s performance and the way Glass’s minimalism was used to underscore the gravity of Lincoln’s words. Several reviewers noted that the choice to premiere the piece at Tanglewood, away from the politicized environment of Washington, was “a statement in itself.”
Looking Ahead
With the Kennedy Center’s status still under debate, the BSO’s successful debut at Tanglewood may encourage other orchestras to explore Symphony No. 15 in similar contexts. Glass’s decision to withdraw the work from a politicized venue underscores the importance of artistic integrity and the role of composers as cultural commentators.
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