World-renowned composer Philip Glass abruptly canceled June's world premiere of Symphony No. 15 "Lincoln" at the Kennedy Center, saying its message does not align with the vision for the venue under the Trump administration.

"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," Glass wrote Tuesday in a letter to the board that was shared with The Times.

The Kennedy Center did not immediately respond to a request for comment.

President Donald Trump has served as board chair since early last year when he fired the existing board and appointed former ambassador to Germany, Richard Grenell, as president. The newly installed board promptly installed Trump in his current position. The president's pursuit of a deeply conservative agenda for the arts unleashed unprecedented chaos at the nation's premiere performing arts center, resulting in massive upheaval and wave after wave of prominent artist cancellations.

The news that Glass was calling off his appearance also caught the National Symphony Orchestra off guard. The NSO commissioned the symphony in 2022 for the Kennedy Center's 50th anniversary, and Glass was late to deliver. The symphony was scheduled to be performed with the NSO on June 12 and 13.

"We have great admiration for Philip Glass and were surprised to learn about his decision at the same time as the press," Jean Davidson, the orchestra's executive director, said in an email.

The news comes amid a growing chorus of high-profile cancellations that have occurred since the center's board voted last month to rename the venue Trump-Kennedy Center, and quickly added the president's name above that of Kennedy's on the exterior of the building.

Jazz drummer Chuck Redd pulled out of a Christmas Eve show and the jazz group the Cookers canceled two New Year's Eve performances. Banjo player Béla Fleck also stepped away from concerts with the NSO and "Wicked" composer Stephen Schwartz said he no longer plans to host a May 15 gala at the center.

The arts world was rocked by the news earlier this month that the Washington National Opera's board approved a resolution to leave the venue it has occupied since 1971. Kennedy Center leadership, including Grenell, quickly shot back that it was the board that asked the WNO to depart.

"We have spent millions of dollars to support the Washington Opera's exclusivity and yet they were still millions of dollars in the hole — and getting worse," Grenell wrote on social media.

Most recently, the center's website announced that soprano Renée Fleming would no longer perform in two scheduled shows. "A scheduling conflict" was the reason cited, but speculation about the opera star's departure swirled as the center's artistic losses mounted amid widely reported plummeting ticket sales.

During the recent upheaval, arts watchers have begun wondering about the future of the NSO, which along with the recently departed WNO, represents the twin pillars of artistic programming at the center.

According to Kennedy Center spokesperson Roma Daravi, the NSO isn't pulling out of the venue.

"The relationship is strong, and we have a wonderful season here with Maestro [Gianandrea Noseda] in his 10th year leading the NSO," Daravi wrote in an email, noting the "record-breaking success at the recent Gala benefiting the NSO which launched the new season. The event raised $3.45 million, marking an all-time fundraising record for the organization."

On Monday Trump sought to boost his financial management of the venue in a Truth Social post that read, "People don't realize that the Trump Kennedy Center suffered massive deficits for many years and, like everything else, I merely came in to save it, and, if possible, make it far better that ever before!"

The center's calendar is looking increasingly sclerotic as big names continue to defect, with the NSO providing much-needed padding as it moves on in the face of unending change.

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