Philip Glass has withdrawn his Symphony No. 15 from its planned world premiere at the John F. Kennedy Center for the Performing Arts, citing a fundamental conflict between the work’s message and the institution’s current direction.
In a letter sent to the Kennedy Center and shared with the press, Glass asked that the National Symphony Orchestra not perform the symphony, which was scheduled to receive its first performance in June. The work, commissioned several years ago to mark the Center’s 50th anniversary, is based on Abraham Lincoln’s 1838 Lyceum Address.
“Symphony No. 15 is a portrait of Abraham Lincoln,” Glass wrote, adding that the values now associated with the Kennedy Center are “in direct conflict with the message of the symphony.”
The decision makes Glass the latest high-profile artist to distance himself from the institution amid growing controversy following recent leadership changes. Since President Donald Trump’s return to office, the Kennedy Center has entered a period of heightened political visibility under its new leadership, headed by Richard Grenell.
Several artists have cancelled appearances at the Center in recent weeks, including soprano Renée Fleming, while the Washington National Opera has announced plans to end its affiliation with the venue. Glass’s withdrawal, however, is among the most significant to date, given his stature in American music and his longstanding association with the Kennedy Center, which honoured him in 2018.
Kennedy Center officials strongly rejected Glass’s decision. Roma Daravi, the Center’s vice president for public relations, said there was “no place for politics in the arts,” arguing that artists were being pressured to cancel performances by political activists rather than responding to public demand. She added that the Center had not cancelled any performances and intended to continue its programming as planned.
Despite the mounting controversy, the National Symphony Orchestra has stated that it will remain at the Kennedy Center. Its music director, Gianandrea Noseda, has emphasised the orchestra’s commitment to continuing its work, even as attendance has reportedly declined and the wider institution faces public scrutiny.
Glass’s withdrawal places renewed focus on the Kennedy Center’s position as a national cultural institution at a moment when artistic programming, institutional leadership, and political identity have become increasingly difficult to separate. Whether the Center can stabilise its relationship with artists and audiences remains uncertain, but the removal of Symphony No. 15 marks a defining moment in the current crisis.
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