Philip Glass Withdraws Lincoln Symphony From Kennedy Center

Philip Glass, one of America’s most celebrated composers, has withdrawn the world premiere of his Symphony No. 15, titled "Lincoln," from the John F. Kennedy Center for the Performing Arts, citing a fundamental conflict between the symphony’s message and the institution’s current leadership and values. The decision, announced on Tuesday, January 27, 2026, marks a dramatic chapter in the ongoing controversy surrounding the Kennedy Center’s recent transformation under the stewardship of former President Donald Trump.

Glass’s symphony, described as a "portrait of Abraham Lincoln," was originally commissioned six years ago by the National Symphony Orchestra to honor both the 16th president and the center’s 50th anniversary, which fell in 2022. Although the composer missed the initial anniversary deadline, the symphony was scheduled for its world premiere this coming June. Now, that performance—once highly anticipated by music lovers and the arts community—will not take place at the Kennedy Center.

In a statement shared across social media platforms, Glass wrote: “After thoughtful consideration, I have decided to withdraw my Symphony No. 15 ‘Lincoln’ from the John F. Kennedy Center for the Performing Arts. 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.” This message was echoed in a letter to the Kennedy Center’s board and the National Symphony Orchestra, both of whom were informed of his decision concurrently with the public.

The controversy at the heart of Glass’s withdrawal centers on the Kennedy Center’s recent leadership overhaul. According to Rolling Stone and The New York Times, President Trump took over as chair of the board last year, ousting many of the institution’s longstanding members and installing his own appointees. In a move that has sparked widespread outrage among artists, patrons, and members of the Kennedy family, the board voted last month to officially rename the venue the "Trump Kennedy Center," despite the fact that such a change to the memorial to John F. Kennedy would require Congressional approval.

For Glass, the clash was not simply political but deeply tied to the subject matter of his symphony. The work is inspired by Abraham Lincoln’s 1838 Lyceum Address, which warned against the dangers of mob violence and the threat posed by ambitious individuals seeking to undermine the Constitution. Glass included selections from the Lyceum Address in the libretto, such as: “The lawless in spirit, having regarded Government as their deadliest bane, make a jubilee of the suspension of its operation. There is no grievance that is a fit object of redress by mob law. We hope all dangers may be overcome, but some man possessed of ambition will spring up among us. Distinction will be his paramount object, and nothing left to be done in the way of building up, he would set boldly to the task of pulling down.”

The composer’s decision comes as the latest in a growing wave of artist withdrawals and cancellations at the Kennedy Center since Trump’s takeover. High-profile figures such as soprano Renée Fleming, bluegrass virtuoso Béla Fleck, Pulitzer Prize-winning musician Rhiannon Giddens, Emmy nominee Issa Rae, "Wicked" composer Stephen Schwartz, the Martha Graham Dance Company, the Seattle Children’s Theatre, and the Broadway musical "Hamilton" have all pulled out of scheduled performances. The Washington National Opera has also moved its shows elsewhere, though it cited financial rather than political reasons for its departure.

In response to the mounting backlash, Kennedy Center spokesperson Roma Daravi stated, “We have no place for politics in the arts, and those calling for boycotts based on politics are making the wrong decision. We have not cancelled a single show. Leftist activists are pushing artists to cancel but the public wants artists to perform and create—not cancel under pressure from political insiders that benefit from creating division.”

The National Symphony Orchestra, which was set to perform Glass’s symphony, expressed surprise at the composer’s decision. Jean Davidson, executive director of the orchestra, commented, “We have great admiration for Philip Glass and were surprised to learn about his decision at the same time as the press.” Joan Bialek, chair of the orchestra’s board, struck a note of resilience, stating, “I was born in Washington, grew up with the Kennedy Center, grew up in the N.S.O., and I can’t let it disappear. We will make it through this.”

The Kennedy Center’s transformation has left the arts community divided and the institution itself increasingly isolated. According to San Francisco Chronicle, the San Francisco Ballet remains one of the few major companies still scheduled to perform at the center, though a petition demanding its withdrawal had garnered over 4,000 signatures as of Tuesday morning. The ballet recently featured Glass’s "Glass Pieces" in a season-opening gala, a testament to the composer’s enduring influence even as he distances himself from the venue.

Glass’s own relationship with the Kennedy Center is storied. He was awarded the National Medal of Arts by President Obama in 2015, and in 2018, he was named a Kennedy Center Honoree. The withdrawal of "Lincoln"—a work intended to celebrate the ideals of both Lincoln and Kennedy—represents a personal and symbolic rupture for the composer, who, at 88, remains a towering figure in American music.

For many observers, the controversy raises broader questions about the intersection of politics and the arts, the stewardship of national cultural institutions, and the responsibilities of artists in times of political upheaval. As the Kennedy Center faces empty seats and a dwindling roster of performances, its future as a beacon of American culture hangs in the balance.

For now, the world premiere of Glass’s "Lincoln" remains in limbo, a casualty of a cultural divide that shows no sign of healing soon. The composer’s decision, rooted in his reading of Lincoln’s warnings about ambition and the fragility of democracy, ensures that his symphony’s message will resonate far beyond the concert hall, even as its notes remain unplayed on the stage where it was meant to debut.