In a stunning rebuke of Washington’s new cultural order, composer Philip Glass has pulled his Lincoln symphony, refusing to let his ode to unity premiere in a venue now bearing Donald Trump’s name.

The decision by the 88-year-old minimalist icon marks the most high-profile artistic defection since the inauguration of President Trump’s second term. By withdrawing the world premiere of Symphony No. 15, titled "Lincoln," Glass has transformed a musical event into a political firestorm, explicitly stating that the values of the 16th President cannot coexist with the current leadership of the John F. Kennedy Center for the Performing Arts—recently controversial renamed the "Trump-Kennedy Center."

The Clash of Presidents

In a statement released early Tuesday from his New York studio, Glass did not mince words. "Symphony No. 15 is a portrait of Abraham Lincoln," he wrote, invoking the leader who preserved the Union during its darkest hour. [...](asc_slot://start-slot-3)"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."

The premiere, originally scheduled for June 12 and 13, was intended to be the crown jewel of the Center’s 2026 season. Instead, it has become a symbol of the widening chasm between the American artistic community and the federal government. The "Trump-Kennedy Center," as it was rebranded by executive order in December 2025, has faced a relentless wave of boycotts, but Glass’s exit strikes a deeper chord. As a 2018 Kennedy Center Honoree, Glass is not just an outsider throwing stones; he is a titan of the institution walking away from his own legacy.

"The Brigands Have Taken the Ship"

The backdrop to this withdrawal is a capital city in cultural turmoil. Following his return to the White House, President Trump moved swiftly to "anti-woke" federal arts funding, installing a new board of trustees loyal to his "Make America Great Again" doctrine. The resulting purge of the Center’s leadership has been described by critics as a hostile takeover.

• The Renaming Controversy: The decision to hyphenate the center’s name with Trump’s own was justified by the administration as a "modernization" effort, but insiders view it as an attempt to brand public monuments.
• The Artist Exodus: Glass joins a growing list of performers, including folk singers and ballet troupes, who have canceled appearances. However, losing a world premiere of this magnitude is a logistical and financial nightmare for the institution.
• The Political Fallout: Senator Sheldon Whitehouse, an ex officio board member, offered a scathing assessment to The Guardian: "When the brigands took the ship, their first instinct was to loot it for their own benefit and hire their friends."

A Symphony Silenced by Reality

Glass’s Symphony No. 15 was rumored to feature texts from the Gettysburg Address and the Second Inaugural, works that emphasize healing and national unity. Sources close to the composer suggest he feared these words would ring hollow, or worse, ironic, within the walls of a venue now associated with mass deportation policies and the controversial "Patriotism in Arts" mandate.

The Trump administration, currently grappling with the fallout from the fatal shootings of US citizens Renee Nicole Good and Alex Pretti by federal agents in Minneapolis, has yet to issue a formal response. However, the silence from the White House Press Office is deafening. For Glass, the music has not stopped—it has simply moved. "Lincoln belongs to the people," an associate of the composer said. "He will not sing for Caesar."