Hopkins Symphony Orchestra Debuts New Piece About Frederick Douglass

Why It Matters

By presenting Douglass alongside Lincoln, the HSO amplifies under‑represented African‑American narratives in classical concert programming, fostering broader cultural dialogue and education.

Key Takeaways

• HSO premieres “Douglass Portrait” alongside Copland’s “Lincoln Portrait”.
• Composer J. Kimo Williams, retired Army captain, wrote the new work.
• Mezzo‑soprano Kyle Engler adds a female narrative voice.
• Program highlights African‑American and presidential perspectives for 250th anniversary.
• Conductor Jed Gaylin emphasizes live composer collaboration.

Pulse Analysis

The Hopkins Symphony Orchestra (HSO) is expanding a long‑standing American tradition by pairing Aaron Copland’s iconic *Lincoln Portrait* with a brand‑new work, *Douglass Portrait*. Commissioned from retired Army captain and composer J. Kimo Williams, the piece translates Frederick Douglass’s abolitionist legacy into orchestral and spoken form. While Copland’s composition has been a staple at civic ceremonies for eight decades, Williams’s commission marks the first time an American orchestra has presented a dedicated musical portrait of Douglass. The program, set for April 18, underscores HSO’s commitment to commissioning contemporary works that dialogue with historic repertoire.

The dual‑narrative format deepens the concert’s educational impact. Shakespearean actor Gerrad Alex Taylor will narrate both Lincoln and Douglass, while mezzo‑soprano Kyle Engler provides a contrasting female voice for Douglass’s text, reflecting his advocacy for women’s rights. Conductor Jed Gaylin stresses the value of working directly with a living composer, allowing real‑time adjustments that shape the piece’s final texture. By juxtaposing the two portraits, the orchestra invites audiences to compare the differing experiences of a former slave and a former president, fostering a nuanced conversation about liberty, democracy, and civil rights.

The concert arrives as the United States approaches its 250th birthday, a moment when cultural institutions are re‑examining the narratives that define the nation. Highlighting Douglass’s Baltimore roots connects the program to local history and encourages community engagement. Moreover, the free student tickets and inclusion of this year’s concerto competition winners demonstrate HSO’s strategy to broaden access and nurture emerging talent. As orchestras nationwide seek relevance, HSO’s blend of canonical works with freshly commissioned, socially resonant music offers a model for how classical programming can both honor tradition and spark contemporary dialogue.