Philip Glass Withdraws Symphony Debut From Kennedy Center

Acclaimed composer Philip Glass has become the latest artist to sever ties with the Kennedy Center, canceling the planned premiere of his Symphony No. 15, titled 'Lincoln.' Glass announced his decision on social media, citing a fundamental clash between the work's message and the institution's current direction. "After thoughtful consideration, I have decided to withdraw my Symphony No. 15 'Lincoln' from the John F. Kennedy Center for the Performing Arts," he stated. The composer explained that the symphony, which serves as a portrait of Abraham Lincoln, embodies values he finds to be "in direct conflict" with those of the Center today, compelling him to pull the premiere under its present leadership.

The withdrawal is a significant blow to the venue's programming. Glass, a minimalist pioneer whose influential works include the opera "Einstein on the Beach," was honored by the very institution in 2018 with a Kennedy Center Honor. His new symphony was slated for two debut performances this June. As of now, a representative for the Kennedy Center has not provided a comment to Variety regarding the cancellation.

This move is part of a widening exodus of performers from the prestigious Washington, D.C. venue. The trend began in earnest after President Donald J. Trump assumed the role of chairman at the start of 2025 and appointed a largely new board. Just last week, legendary soprano Renée Fleming—whose career-defining performances at the Metropolitan Opera have made her one of the most celebrated vocalists of her generation—canceled a May appearance, which the Center attributed to a scheduling conflict. The list of artists who have withdrawn is extensive and cross-genre, including composer Stephen Schwartz, banjo virtuoso Béla Fleck, actress and producer Issa Rae, the jazz collective the Cookers, and a planned production of "Hamilton."

Earlier this month, Béla Fleck offered a pointed explanation for his own departure, noting that "[p]erforming there has become charged and political, at an institution where the focus should be on the music." This sentiment underscores a growing concern within the arts community that the Center's non-partisan, artistic mission has been compromised. Cultural historians note that while artists have boycotted venues over political issues before, the scale and speed of this coordinated withdrawal from a flagship national institution is unprecedented in recent memory, signaling a profound crisis of confidence.