Noseda Conducts Brahms / Carlos Simon World Premiere, March 2026 by Encore Magazine

Noseda Conducts Brahms / Carlos Simon World Premiere

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THE DONALD J. TRUMP AND JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS

MARCH 12, 2026 AT 7 P.M.; MARCH 13 & 14, 2026 AT 8 P.M. | CONCERT HALL

Gianandrea Noseda, conductor

Ying Fu, violin

Raymond Tsai, cello

ROBERT SCHUMANN (1810–1856)

CARLOS SIMON (1986–)

JOHANNES BRAHMS (1833–1897)

Ω NSO Principal Musician

Manfred Overture, Op. 115 (1848)

Double Concerto Suite for Violin, Cello, and Orchestra, World Premiere (2025)

Ying Fu, violin Ω

Raymond Tsai, cello Ω

INTERMISSION

Symphony No. 3 in F Major, Op. 90 (1883)

i. Allegro con brio

ii. Andante

iii. Poco allegretto

iv. Allegro – Un poco sostenuto

THANK YOU TO OUR SEASON SPONSORS

The NSO Music Director Chair is generously endowed by Roger Sant and Congresswoman Doris Matsui Noseda Era Fund Supporters The Amici di Gianandrea

Patrons are requested to turn off cell phones and other electronic devices during the performance. Any video and/or audio recording of this production is strictly prohibited.

Welcome

Dear Friends,

As we celebrate the National Symphony Orchestra’s 95th season, I want to take a moment to express my heartfelt thanks to you—our devoted patrons, supporters, and friends. Your presence this evening, and your unwavering support throughout the year, mean more than words can convey. It is your love of music, your generosity, and your steadfast belief in the arts that delight this remarkable orchestra.

In 1931, Hans Kindler founded the NSO with a bold vision: to build a world-class symphony orchestra in the heart of our nation’s capital. Nearly a century later, that vision continues to be our driving force. Today, under the dynamic artistic leadership of Gianandrea Noseda, we are more inspired than ever to share powerful performances with our audiences. The NSO is not simply an orchestra; it is a family of artists joined together through a shared love of music, unity of purpose, and commitment to something greater than us.

The NSO is more than what you see on stage—it is a living, breathing institution devoted to enriching lives. Our robust education and community engagement programs reach thousands of students, educators, and families each year. Between our Youth Fellowship Program and Summer Music Institute, to Young People’s Concerts, we strive to make music accessible to everyone—especially the next generation.

This commitment to connect with broader audiences is also seen through our vibrant, genre-defying series, led by the remarkable Steven Reineke, our Principal Conductor and Artistic Advisor. Steven brings a wide-reaching musical vision to the NSO, bridging genres and generations. His programming has opened the door for new audiences to discover a love for orchestral music, while continuing to captivate longtime fans with the highest levels of artistry.

As we embark on this milestone season, we are reminded that our journey would not be possible without you. Thank you for being an essential part of this vibrant and enduring musical community.

With deepest gratitude and warmest regards,

Jean Davidson Executive Director National Symphony Orchestra

From the Music Director

Cari amici,

It is with immense joy and anticipation that I welcome you to the National Symphony Orchestra’s 95th anniversary season. This moment is more than a milestone—it is a celebration of our deep musical legacy and a renewed commitment to bringing powerful, moving performances to our community and beyond. This is only the beginning. The 95th season is filled with musical discovery, celebrated artists, and unforgettable experiences.

This season features iconic works that have stood the test of time, from classic masterpieces to thrilling contemporary music. The NSO also has the opportunity to share the stage with an exceptional lineup of guest artists and conductors—beloved icons and rising stars alike. Performing new music is something the NSO truly believes in. Make history with us as we present innovative new works, including five world premieres.

I am deeply grateful to share this journey with you. Your presence in the Concert Hall is what brings our music fully to life. Thank you for being a part of the NSO family—for your passion, your applause, and your unwavering support.

Con tutto il cuore,

Gianandrea Noseda

Music

Music Director, National Symphony Orchestra

Director, National Symphony Orchestra

Che la musica vi porti gioia e ispirazione—may music bring you joy and inspiration.

Notes on the Program

Manfred Overture, Op. 115

ROBERT SCHUMANN

Born June 8, 1810, in Zwickau, Germany

Died July 29, 1856, in Endenich, Germany

Robert Schumann’s Manfred Overture is the opening of a giant dramatic work based on a “dramatic poem” by Lord Byron. Even though Schumann began composing this piece in 1848, he had been familiar with the poem since his adolescence. Byron conceived of the Manfred character during the same summer trip that Mary Shelley created Dr. Frankenstein, and his Manfred, an anti-hero who summons the spirit of his sister on his quest to die, is psychologically similar to Dr. Frankenstein. Yet, while these figures captured the literary imaginations of many, Schumann was fascinated by Byron’s character development as well as the structure and philosophy of his poem. Manfred is a poem in three acts, but Byron confessed that it was impossible to stage due to its psychological nature. When Schumann started composing with this text (in a German translation by Karl Adolf Suckow), he was, like Manfred, experiencing a period of deep depression and auditory hallucination. Schumann’s attempt to translate this new approach to literature into a musical treatment was successful, yet it resulted in a work that is difficult initially for most to understand. Both Brahms and Liszt—who conducted its full premiere— considered Schumann’s Manfred, in its entirety, to be amongst his best works. Today, the entire piece receives few performances. However, the Overture remains a solid work in the orchestral canon.

The Overture opens with a loud, fast statement. Suddenly, slow, poetic, brooding harmonies appear and develop with an air of mystery. Surprise orchestral hits then spark a quickening that transforms into a musical fury. This anger, however, contains music that is just as poetic as the opening, but from a completely different emotional approach. A slowing down paves the way for a calming brass chord that permits a moment of contemplation. Halfway through the Overture, the “fury music” returns, marked by violin swells, low registral rumblings, and a gorgeous tenor melody played by the violas and the cellos. Familiar music enters, foreshadowing a return to the mysterious texture of the Overture’s opening. As the music waxes and wanes in tempi, the work settles into the slow, poetic, brooding environment that begins the coming orchestral masterpiece. Schumann places this Overture in the dark, mysterious key of E-flat minor, a key that can cause tuning difficulties across the orchestra. Two years later, Schumann’s declining mental state compelled him to attempt suicide by jumping into the River Rhine. After being saved, he was taken to a private sanatorium, where he died in 1856 from pneumonia.

—Anthony R. Green

Double Concerto Suite for Violin, Cello, and Orchestra

CARLOS SIMON

Born April 13, 1986, in Washington, D.C.

This double concerto for violin and cello has no associated programmatic concept. For the first time in my compositional career, I have decided to write a piece that allows listeners to assign their own meaning and understanding of the work. It is truly absolute music— that is music for music’s sake. The composition is, however, inspired by a wide range of genres, including Baroque dance forms like the passacaglia and the gavotte to Delta Blues. My hope with this work is to allow the soloists to express themselves through a variety of orchestral colors and musical styles.

—Carlos Simon

Symphony No. 3 in F Major, Op. 90

JOHANNES BRAHMS

Born May 7, 1833, in Hamburg, Germany

Died April 3, 1897, in Vienna, Austria-Hungary

Much of the music of Johannes Brahms is a reflection of his self-recognized duality. In the same vein as Schumann’s self-coined moody “Eusebius” and outgoing “Florestan” personalities, Brahms often referred to himself as “Kreisler,” referencing a fictional, temperamental conductor created by the German romantic writer E.T.A. Hoffmann. His friend Joseph Joachim—violinist, conductor, and composer—also recognized this duality, describing his personalities as “eine kindlich, genial, vorwiegend … eine dämonische auflauernde” (one kind, genial, chiefly … one demonically waiting).

Perhaps part of this duality sprang from the pressure Brahms felt from history. When he was only 20, Schumann deemed Brahms the true successor of Beethoven, and Brahms felt that weight acutely in the ensuing decades. He also had a frustrating relationship with women. Brahms and Joachim both chose the life of “echte Musikanten” (true musicians) as described by the fictional Kreisler—a life where one can be inspired by women, but never enter into an intimate relationship with them. Where Joachim adopted the F.A.E.—“frei aber einsam” (free, but lonely)—motto as a summation of this life, Brahms responded with F.A.F—“frei aber froh” (free but happy).

Three decades after Schumann’s lofty declamation—30 years of struggle, frustration, experimentation, study, and growth—Brahms seemed to have found a voice that liberated him from his self-inflicted pressures in his Third Symphony. Instead of “kind” and “demonic” dualities, the symphony expresses more nuanced oppositions. The outer two movements are quite heroic and liberating, while the middle two are reflective and longing. In a nod to Joachim, Brahms opens the symphony with an F-A ♭-F rising melodic statement, solidifying his newly affirmed freedom (“freiheit”) and happiness (“fröhlichkeit”).

Despite referencing Schumann’s “Rhenish” Symphony—and despite moments in the fourth movement which sound eerily similar to Beethoven’s work—the Third Symphony is the most innovative of Brahms’ four. It is also the most compact. Brahms was known to have often sought advice and critique from Clara Schumann, but then to have ignored it after it was given. Yet, when Clara first experienced the Third Symphony, she exclaimed, “All the movements seem to be of one piece, one beat of the heart, each one a jewel!”

Not only does Brahms recycle themes, harmonies, and contrapuntal developments with economic restraint (creating the uniformity which Clara immediately recognized), but each movement ends quietly—a departure from symphonic structure at the time. Not all appreciated this quality, however. Among some of the negative critiques received after early performances, an 1884 review in The Boston Gazette states, “… the Third Symphony of Brahms is painfully dry, deliberate, and ungenial … The Finale we could not understand, and it ends in a quiet and unimpressive manner that makes it an anticlimax after the fuss and noisiness that precede it.” Despite such criticism, Brahms established a path forward with this new, streamlined approach to the symphony. He was finally truly happy and free to continue composing works that would eventually be cherished beyond his years.

—Anthony R. Green

Meet the Artists

Gianandrea Noseda, conductor

Gianandrea Noseda is one of the world’s most soughtafter conductors, equally recognized for his artistry in both the concert hall and opera house. The 2025–2026 season marks his ninth as music director of the National Symphony Orchestra. Noseda’s leadership has inspired and reinvigorated the National Symphony Orchestra, which makes its home at the Kennedy Center. The renewed artistic recognition and critical acclaim have led to invitations to Carnegie Hall and international concert halls, as well as digital streaming and a record label distributed by LSO Live, for which Noseda also records as principal guest conductor of the London Symphony Orchestra. Noseda’s discography of over 80 recordings includes dozens of critically acclaimed albums with a wide range of orchestras and repertoire for various labels, including Deutsche Grammophon and Chandos.

Noseda became General Music Director of the Zurich Opera House in September 2021 and reached an important milestone in May 2024, conducting two highly praised complete Ring Cycles. He was recognized as “Best Conductor” by the jury of the German OPER! AWARDS, specifically for his Wagner interpretations.

From 2007 to 2018, Noseda served as Music Director of the Teatro Regio Torino, where his leadership marked the opera house’s golden era. Noseda has conducted the most important international orchestras, opera houses, and festivals, and had significant roles at the BBC

Philharmonic (chief conductor), Israel Philharmonic Orchestra (principal guest conductor), Mariinsky Theatre (principal guest conductor), Orchestra Sinfonica Nazionale della RAI (principal guest conductor), Pittsburgh Symphony Orchestra (Victor de Sabata Chair), Rotterdam Philharmonic (principal guest conductor), and Stresa Festival (artistic director).

Working with the next generation of musicians is important to Noseda, and in the summer of 2025, he led a tour of major concert halls in China, Korea, and Japan with Carnegie Hall’s National Youth Orchestra of the USA. In 2019, he was appointed the founding Music Director of the Tsinandali Festival and Pan-Caucasian Youth Orchestra in the village of Tsinandali, Georgia.

A native of Milan, Noseda is Commendatore al Merito della Repubblica Italiana, marking his contribution to the artistic life of Italy. He has been honored as Conductor of the Year by both Musical America and the International Opera Awards. He is also a recipient of the Puccini Award, whose past recipients include legendary opera stars Maria Callas, Birgit Nilsson, and Luciano Pavarotti.

Carlos Simon, composer

“My dad, he always gets on me. He wants me to be a preacher, but I always tell him, ‘Music is my pulpit. That’s where I preach,’”

Carlos Simon reflected for The Washington Post. Having grown up in Atlanta, with a long lineage of preachers and connections to gospel music to inspire him, Grammy®nominated Simon proves that a

well-composed song can indeed be a sermon. His music ranges from concert music for large and small ensembles to film scores with influences of jazz, gospel, and neo-romanticism.

Simon is the current Composer-inResidence for the Trump Kennedy Center and frequently writes for the National Symphony Orchestra and Washington National Opera. Simon also holds the position of inaugural Composer Chair of the Boston Symphony Orchestra, the first in the institution’s 143-year history.

A highlight of the 2025–2026 season is the world premiere of Simon’s Double Concerto Suite for Violin, Cello, and Orchestra, which will be premiered by the National Symphony Orchestra followed by the St. Louis Symphony Orchestra, and performed by further co-commissioners in future seasons. Additional world premieres include Lamentations for String Orchestra (commissioned by New World Symphony / Miami City Ballet), a symphonic soundtrack to The Unspoken Elegance of Stillness (directed by Simon Frederick), and works for the Boston Symphony Chamber Players and Augustin Hadelich, commissioned by the Boston Symphony Orchestra. Previously, Simon has been commissioned by the likes of the Los Angeles Philharmonic, San Diego Symphony, Washington National Opera (in collaboration with Mo Willems), New York Philharmonic, Bravo! Vail, Minnesota Orchestra, American Ballet Theatre, Detroit Symphony Orchestra, Jacksonville Symphony, Cincinnati Pops Orchestra, Carnegie Hall for the National Youth Orchestra of the USA, and BBC Symphony Orchestra for the Last Night of the Proms.

As well as his composition work, Simon frequently curates concert programmes, which often highlight his own music as well as that of close collaborators. Curation concerts

have recently been programmed by the Atlanta Symphony Orchestra, Boston Symphony Chamber Players, Tanglewood Festival of Contemporary Music, and the Trump Kennedy Center. Simon also curated and arranged Coltrane: Legacy for Orchestra, a new project co-commissioned by TO Live (for the Toronto Symphony Orchestra) and the San Francisco Conservatory of Music, in partnership with the Coltrane Estate.

August 2024 saw the release of Simon’s first full-length orchestral album, Four Symphonic Works, comprised of live concert recordings by the National Symphony Orchestra from the Trump Kennedy Center Concert Hall, conducted by Gianandrea Noseda. Simon also composed the original soundtrack for the PBS documentary Shame of Chicago: Shame of the Nation, which was released as a digital album in April 2024.

Simon also released the live premiere recording of brea(d)th, a landmark work commissioned by Minnesota Orchestra and written in collaboration with Marc Bamuthi Joseph, conducted by Jonathan Taylor Rush. “Arguably the most important commission of Simon’s career so far” (The New York Times), brea(d)th was written following George Floyd’s murder as a direct response to America’s unfulfilled promises and history of systemic oppression against Black Americans.

Simon earned his doctorate degree at the University of Michigan, where he studied with Michael Daugherty and Evan Chambers. He has also received degrees from Georgia State University and Morehouse College. He is an honorary member of Phi Mu Alpha Music Sinfonia Fraternity and a member of the National Association of Negro Musicians, Society of Composers International, and Pi Kappa Lambda Music Honor Society. He has served as a member of the music faculty at Spelman College and

Meet the Artists

Morehouse College in Atlanta, Georgia, and now serves as Associate Professor at Georgetown University. Simon was also a recipient of the 2021 Sphinx Medal of Excellence, the highest honor bestowed by the Sphinx Organization to recognize extraordinary classical Black and Latinx musicians, and was named a Sundance/ Time Warner Composer Fellow for his work for film and moving image.

Ying Fu, violin

Ying Fu is currently the associate concertmaster of the National Symphony Orchestra in Washington, D.C. Prior to this appointment in January 2019, Fu was the associate concertmaster of the Philadelphia Orchestra for six years, as well as a member of the first violin section in the Cleveland Orchestra for two years. He is also a frequent guest concertmaster for the Shanghai Philharmonic Orchestra and a visiting professor at the Shanghai Conservatory of Music in China. In 2012, Fu won the First Prize in the 31st Rodolfo Lipizer International Violin Competition in Italy as well as four Special Prizes. He also holds the top prizes from the 2011 Schmidbauer International Competition, the 2009 Washington International Competition, and the 2008 HAMS Violin Competition in Chicago. His music-making includes performances in many major cities in the United States, Europe, and Asia. Originally from Shanghai, China, Fu started to play violin at the age of three. He went on to earn his Bachelor of Music from the Shanghai Conservatory of Music in China and earned his Master of Music

from the Shepherd School of Music with Professor Sergiu Luca at Rice University. After two years of a doctoral program with Professor ChoLiang Lin and Professor Luca, he joined the renowned Cleveland Orchestra in August of 2011.

With his great enthusiasm for chamber music, Fu has participated in many renowned summer music festivals, including Marlboro Music Festival, Schleswig-Holstein Music Festival in Germany, and the Taos Chamber Music Festival in which he has worked and performed with many great musicians, including pianists Richard Goode and Mitsuko Uchida; cellist Peter Wiley; violists Kim Kashkashian, Samuel Rhodes, and Michael Tree; and the Shanghai Quartet, Borromeo String Quartet, St. Lawrence String Quartet, and the Brentano String Quartet with pianist Robert McDonald.

Distinguished by his talents and leadership, Fu has served as the concertmaster of Schleswig-Holstein Symphony Orchestra in Germany, where he performed under Maestro Christoph Eschenbach and Valery Gergiev. He has also served as the guest concertmaster for the Houston Symphony and the Indianapolis Symphony Orchestra. Fu has served as a jury member for many young artist music competitions, including the Greenfield Competition, and as a faculty member for the Calvin String Summit in Michigan, the Philadelphia International Music Festival, the National Symphony Orchestra Summer Music Institute at the Trump Kennedy Center, and the National Youth Orchestra of the United States of America.

Fu has been an active violin teacher since 2002. Fu was a teaching assistant while pursuing his master’s and doctoral degrees at Rice University in Houston. During this time, he formed his own studio of 18 students, ranging from four-year-old children to adults.

During his six years in Philadelphia, Fu focused on helping young violinists become professionals. His students have been accepted by such renowned institutions as the Curtis Institute of Music in Philadelphia, the New England Conservatory in Boston, the Julliard School in New York City, and Indiana University. Fu has given many master classes all over the world. As he describes, teaching others is a fantastic way to teach himself. He currently lives in McLean, Virginia.

Raymond Tsai, cello

Alabama native Raymond Tsai began with the National Symphony Orchestra as assistant principal cellist in September 2025. Prior to joining the NSO, Raymond studied with Richard Aaron and pursued his bachelor’s degree at the University of Michigan. Beginning cello studies at eight years old, Raymond discovered his love of orchestra playing during fellowships at the Pacific and Tanglewood music festivals. Outside of classical music, Raymond enjoys athletic activities and noodling around on the guitar.

National

Symphony Orchestra

The 2025–2026 season is the National Symphony Orchestra’s 95th and Music Director Gianandrea Noseda’s ninth season. Gianandrea Noseda serves as the orchestra’s seventh music director, joining the NSO’s legacy of distinguished leaders: Christoph Eschenbach, Leonard Slatkin, Mstislav Rostropovich, Antal Doráti, Howard Mitchell, and Hans Kindler. Its artistic

leadership also includes Principal Conductor and Artistic Advisor Steven Reineke.

Since its founding in 1931, the NSO has been committed to performances that enrich the lives of its audience and community members. In 1986, the National Symphony became an artistic affiliate of the John F. Kennedy Center for the Performing Arts, where it has performed since the Center opened in 1971. The 96-member NSO participates in events of national and international importance, including the annual nationally televised concerts on the lawn of the U.S. Capitol, livestreamed performances on medici.tv, and local radio broadcasts on WETA Classical 90.9 FM.

Since launching its eponymous recording label in 2020, the NSO has embarked on ambitious recording projects, including its first complete Beethoven Symphony cycle and the release of the first-ever cycle of George Walker’s Sinfonias, both led by Noseda. Recent projects include Four Symphonic Works by Kennedy Center Composerin-Residence Carlos Simon conducted by Noseda, and William Shatner’s So Fragile, So Blue, recorded live in the Concert Hall with the NSO under Steven Reineke. Forthcoming releases with Gianandrea Noseda include music by Gustav Mahler and William Grant Still, as well as Samuel Barber’s opera Vanessa.

The NSO’s community engagement and education projects are nationally recognized, and career development opportunities for young musicians include the NSO Youth Fellowship Program and its acclaimed, tuition-free Summer Music Institute.

Symphony

Loud and Clear

Terms to know in the Concert Hall, loosely defined.

An extended work with multiple sections—typically four movements.

A “symphonic” piece is a long piece with multiple interpretations of a musical idea. A repeated, transformed musical idea is called a theme.

Orchestra

A group of musicians who play together.

In the Western European tradition, an orchestra often includes the four major instrument families—brass, woodwinds, strings, and percussion. An especially large orchestra is called a symphony orchestra. A smaller orchestra is called a chamber orchestra

Movement

A section of a musical work. Movements are often separated by silences, and they typically differ in tempo—speed.

Sonata

Originally, a musical composition played on instruments. In modern usage, “sonata” can mean a piece for a soloist or an ensemble, often with two to four movements. If a work or a movement is written in sonata form, it is structured in three sections: exposition, development, and recapitulation.

Concerto

A piece pairing a technically advanced soloist with the support of an orchestra, usually in three movements. Though there may be multiple soloists, the contrast between a larger ensemble and a soloing group defines a concerto.

Chorale

A congregational piece sung by a chorus, or an instrumental piece in the harmonic style of a hymn.

Overture

An orchestral instrumental introduction to a dramatic musical work, such as an opera or a ballet. Composers, particularly those of the Romantic Period, sometimes composed independent concert overtures, intended to begin a larger musical program.

Suite

Multiple pieces intended to be performed together. Suites may take from larger works, such as an opera or a ballet.

Fugue

An often brief work with multiple melodic lines interpreting a single, recurring theme. J.S. Bach popularized the practice of pairing fugues with introductory preludes.

Tempo Markings

Largo - slow, broad

Lento - slow

Andante - moderately slow, walking pace

Moderato - moderate

Allegretto - slightly slower than allegro

Allegro - fast, bright

Vivace - fast, lively

Presto - very fast

Additional Markings

Poco - a little Meno - less Non tanto - not as much

Ma non troppo - but not too much

Più - more

Molto - very Animato - animated

Sostenuto - sustained Maestoso - majestically

Marcato - marked, accented

Mosso - with motion and speed

Con brio - with liveliness

Scherzo - a fast, playful section

National Symphony Orchestra

GIANANDREA NOSEDA , MUSIC DIRECTOR

The Roger Sant and Congresswoman Doris Matsui Chair

STEVEN REINEKE , PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

VIOLINS

Nurit Bar-Josef, Concertmaster

Ying Fu, Associate Concertmaster, The Jeanne Weaver Ruesch Chair

Ricardo Cyncynates, Assistant Concertmaster

Xiaoxuan Shi, Second Assistant Concertmaster

Jane Bowyer Stewart

Heather LeDoux Green

Lisa-Beth Lambert

Jing Qiao

Marina Aikawa

Peiming Lin

Derek Powell

Regino Madrid**

Meredith Riley**

Marissa Regni, Principal

Dayna Hepler, Assistant Principal

Cynthia R. Finks

Deanna Lee Bien

Glenn Donnellan

Natasha Bogachek

Carole Tafoya Evans

Jae-Yeon Kim

Wanzhen Li

Hanna Lee

Benjamin Scott

Malorie Blake Shin

Angelia Cho

Kei Sugiyama**

VIOLAS

Daniel Foster, Principal, The Mrs. John Dimick Chair

Dana Kelley, Assistant Principal

Denise Wilkinson

Nancy Thomas

Jennifer Mondie

Tsuna Sakamoto

Ruth Wicker

Mahoko Eguchi

Abigail Evans Kreuzer

Rebecca Epperson

Chiara Dieguez**

Jacob Shack**

CELLOS

David Hardy, Principal, The Hans Kindler Chair, The Strong Family and the Hattie M. Strong Foundation

Raymond Tsai, Assistant Principal

David Teie

James Lee

Rachel Young

Mark Evans

Eugena Chang Riley

Loewi Lin

Britton Riley

Noah Krauss

BASSES

Robert Oppelt, Principal

Richard Barber, Assistant Principal

Jeffrey Weisner

Ira Gold

Paul DeNola

Charles Nilles

Alexander Jacobsen

Michael Marks

HARP

Adriana Horne, Principal

FLUTES

Aaron Goldman, Principal

Leah Arsenault Barrick, Assistant Principal

Matthew Ross

Carole Bean, Piccolo

OBOES

Nicholas Stovall, Principal, The Volunteer Council Chair

Jamie Roberts, Assistant Principal

Harrison Linsey***

Kathryn Meany Wilson***, English Horn

CLARINETS

Lin Ma, Principal

Eugene Mondie, Assistant Principal

Paul Cigan

Peter Cain, Bass Clarinet

BASSOONS

Sue Heineman, Principal

David Young, Assistant Principal

Steven Wilson

Sean Gordon, Contrabassoon

HORNS

Abel Pereira, Principal, The National Trustees’ Chair

James Nickel, Acting Associate Principal

Markus Osterlund***

Scott Fearing

Robert Rearden

Geoffrey Pilkington**

TRUMPETS

William Gerlach, Principal, The Howard Mitchell Chair, The Strong Family and the Hattie M. Strong Foundation

Michael Harper, Assistant Principal

Michail Thompson

Tom Cupples

TROMBONES

Craig Mulcahy, Principal

Evan Williams, Assistant Principal

David Murray

Matthew Guilford, Bass Trombone

TUBA

Stephen Dumaine, Principal, The James V. Kimsey Chair

TIMPANI

Jauvon Gilliam, Principal, The Marion E. Glover Chair

Scott Christian, Assistant Principal

PERCUSSION

Eric Shin, Principal, The Hechinger Foundation Chair

Erin Dowrey, Assistant Principal

Scott Christian

Jason Niehoff*

KEYBOARD

Lambert Orkis, Principal

Lisa Emenheiser*

ORGAN

William Neil*

LIBRARIANS

Elizabeth Cusato Schnobrick, Principal

Zen Stokdyk, Associate

Karen Lee, Assistant

PERSONNEL

Karyn Garvin, Director

Sufyan Naaman**, Coordinator

STAGE MANAGERS

David Langrell, Manager

N. Christian Bottorff, Assistant Manager

The National Symphony Orchestra uses a system of revolving strings. In each string section, untitled members are listed in order of length of service.

*Regularly Engaged Extra Musician

** Temporary Position

***Leave of Absence

National Symphony Orchestra Staff

ADMINISTRATION

Jean Davidson, Executive Director

Sabryn McDonald, Executive Assistant

EXECUTIVE TEAM

Kasama Apfelbaum, Vice President, Financial Planning & Analysis

Nigel Boon, Vice President, Artistic Planning

John Roloff, Vice President, Orchestra Operations

ARTISTIC PLANNING

Justin Ellis, Senior Producing Director

Ana Vashakmadze, Assistant Artistic Administrator

DEVELOPMENT

Laney Pleasanton, Manager, NSO Individual Giving

Pamela Wardell, Senior Director of Development

EDUCATION

Vanessa Thomas, Director of Education Activation & Engagements

FINANCE AND ADMINISTRATION

Eric Rubio, Director of Finance & Administration

HUMAN RESOURCES

Tony Amato, Director, Total Rewards

Chanel Kemp, Talent Acquisition Manager

Patrice McNeill, Director, HR Operations

Lisa Motti, HRIS Coordinator

Ericka Parham, Benefits Analyst

John Sanford, Senior Business Partner

MARKETING & ADVERTISING

Michael Granados, Marketing Manager, NSO, Fortas & New Music

Lily Maroni, Senior Manager, Advertising Communications

Elizabeth Stoltz, Advertising Production & Special Projects Assistant Manager

Derek Younger, Director, Sales & Ticketing Service

ORCHESTRA OPERATIONS & CONCERT PRODUCTION

Brooke Bartolome, Orchestra Personnel and Operations Manager

Joseph Benitez, Media & OPAS Support Coordinator

N. Christian Bottorff, Assistant Stage Manager

Cayley Carroll, Director, Production & Orchestra Operations

Karyn Garvin, Director of Orchestra Personnel

David Langrell, Stage Manager

Sufyan Naaman, Personnel and Auditions Coordinator

Ava Yap, Operations Assistant

PUBLIC RELATIONS

Amanda Fischer, Deputy Director of Public Relations

Kennedy Center Staff

Trump Kennedy Center Staff

KENNEDY CENTER EXECUTIVE LEADERSHIP

TRUMP KENNEDY CENTER EXECUTIVE LEADERSHIP

KENNEDY CENTER EXECUTIVE LEADERSHIP

President, John F. Kennedy Center for the Performing Arts

President, John F. Kennedy Center for the Performing

President, John F. Kennedy Center for the Performing Arts

President, John F. Kennedy Center for the Performing

Chief Financial Officer

Ambassador Richard Grenell

Ambassador Richard Grenell Chief Financial Officer

Donna Arduin

Ambassador Richard Grenell Financial Officer

General Counsel

Donna Arduin

Chief Financial Officer Donna Arduin

Donna Arduin General Counsel

General Counsel

Berke

General Counsel Elliot Berke

Berke

Donna Arduin General Counsel

Senior Vice President, Development

Dale

Senior Vice President, Development

Vice President of Human

Dale

Senior Vice President, Marketing

Senior Vice President,

Senior Vice President, Marketing

Senior Vice President,

Osborne

Senior Vice President, Marketing�� Robin Osborne

Senior Vice President, Special

Senior Vice President, Special Events

Donlon

Senior Vice President, Special Events

Donlon

Senior Vice President, Development Lisa Dale

Vice President, Human

Vice President, Human Ta’Sha Bowens

Vice President, Public Relations Roma Daravi

Vice President, Human

Vice President, Operations

Executive Director, National Symphony Orchestra Jean Davidson

Vice President,

Vice President, Education

Vice President, Special Events

Bronagh Donlon

Vice President, Public

Vice President, Public Relations

Vice

Vice President, Public Relations

Vice President, Facilities Matt Floca

Vice President, Public Relations

Chief

Chief Information Officer

Chief Information

Vice President, Education Jordan LaSalle

Chief Information Officer

Executive Director, National Symphony

Executive Director, National Symphony Orchestra

Executive Director, National

Executive Director, National Symphony Orchestra

Executive Director, National Symphony

Chief Information Officer Bob Sellappan

General Director, Washington National

General Director, Washington

General Director, Washington National

General Director, Washington

Concert Hall Staff

Theater Manager Allen V. McCallum Jr.

Theater Manager

Theater Manager Allen V. McCallum Jr.

Box Office Treasurer

Allen V. McCallum Jr.

Theater Manager Allen V. McCallum Jr.

Deborah Glover

Box Office Treasurer Deborah Glover

Deborah Glover

Box Office Treasurer

Deborah Glover

Box Office Treasurer Deborah Glover

Head Usher

Head Usher Cathy Crocker

Head Usher

Stage Crew

Cathy Crocker

Head Usher Cathy Crocker

Cathy Crocker

Head Usher Cathy Crocker

Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

Stage Crew Zach Boutilier, Michael Buchman, Paul Johannes, April King, John Ottaviano, and Arielle Qorb

*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.

Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.

Steinway Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.

Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.

Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Trump Kennedy Center.

Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.

The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.

The box office at the Trump Kennedy Center is represented by I.A.T.S.E, Local #868.

The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.

The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.

The technicians at the Trump Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.

The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E.

AFL-CIO-CLC, the professional union of theatrical technicians.

The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E. AFL-CIO-CLC, the professional union of theatrical technicians.

AFL-CIO-CLC, the professional union of theatrical technicians.

The American Guild of Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.

The American Guild Musical Artists, the union of professional singers, dancers and production personnel in opera, ballet and concert, affiliated with the AFL-CIO, represents the Artists and Staging Staff for the purposes of collective bargaining.

National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, AFM Local 161-710.

National Symphony Orchestra musicians are represented by the Metropolitan Washington, D.C. Federation of Musicians, Local 161-710.

National Symphony Orchestra musicians are represented by the Metropolitan Washington,

Thank You to Our Supporters

National Symphony Orchestra Board of Directors

Officers

Joan Bialek, Chair

Ashley Davis, Vice Chair

Stanley Pierre-Louis, Treasurer

Brian Boyle, Secretary

Executive Committee

Carl Bergeron, Chair, Pension Committee

Brian Boyle, Co-Chair, Development Committee

Ashley Davis, Chair, Nominating and Governance Committee

Shannon McCormick Davis, Co-Chair, Development Committee

Ronald D. Abramson

Anne K. Altman

Michael F. Brewer

Jean Davidson, ex officio

Barbara H. Franklin

Directors

Ernest Abbott

Andrita J. Andreas

Jane Lipton Cafritz

Ronya Corey

Pierre de Lucy

Debbie Driesman

Larry Driver

William Finnerty

Brian L. Gevry

David Ginsberg

Cindy Green

Thomas C. Green

Kathryn Jones

Christina Co Mather

Michael Mayton

Richard Moxley

Stephanie Guyett

Dana Hearn

Helen Jackson

Ann D. Jordan, Lifetime Dir.

Vlad Khomenko

Gerald L. Kohlenberger, ex officio

Michael Lipsitz

Jan M. Lodal

Timothy R. Lowery

Heidi Narang

David B. Novy

Michael Salzberg

Roger W. Sant

Susan Silverstein Scott

Tina B. Small

Cathy McCulloch

Sarah Mills

Jeanne Weaver Ruesch

Sheryl Schwartz

Jeffrey M. Senger

Jeff Shockey

Raghu Srinivasan

Courtney Straus

Stuart Winston

National Symphony Orchestra National Trustees

Officers

Gerald L. Kohlenberger, VA, Chairman

Ross Ain, DC, Vice Chairman

Ken Leibowitz, DC, Vice President of Membership

Purvi Patel Albers, TX, Vice President of Development

Jeannette J. Segel, AZ, Vice President of Special Events & Meetings

Ex-Officio Positions

Michael Mayton, AR, Past Chairman

Jessine Monaghan, DC, Past Chairman

Mary K. Abercrombie, ID, Past Chairman

Members

Susan Ain, FL

Ralph Baxter, WV

Jeri Crawford, NV

Nancy Jean Davis, FL

Gail Charnley Elliott, CT

Glenn Finch, VA

Mary Galvin, IL

Larry Kellogg, FL

Laura Kerr-Engstrom, OK

Tom Mims, FL

Theresa Thompson, VA

James Ward, NM

John Wohlstetter, SC

Stephen T. Young, GA

Thank You to Our Donors

Individual and Foundation donors contributing $1,800 or more to the National Symphony Orchestra annually are recognized in the following lists. For a full listing of Trump Kennedy Center supporters, please visit: tkc.co/Support

$500,000+

Anonymous

The Morris and Gwendolyn Cafritz Foundation

$100,000-499,999

Mr. Martin K. Alloy and Mrs. Daris M. Clifton-Alloy

Paul M. Angell Family Foundation

The Galena-Yorktown Foundation

$50,000-99,999

Anonymous (2)

Mrs. Byrle M. Abbin

The Andreas Family Foundation

Eve E. Bachrach

Joan Bialek and Louis Levitt, MD

$25,000-49,999

Anonymous

Ernest and Catherine Abbott

Ms. Anne K. Altman

Bender Foundation, Inc.

Brian and Sheila Boyle

Michael Brewer and Janet Brown

Shannon and Jim Davis

Pierre de Lucy and Jodie McLean

Ms. Kirby Heller and Mr. Stephen Dennett

Dr. Christine A. Dingivan

The Honorable Barbara H. Franklin

Ann and Tom Friedman

Mary B. Galvin

Brian and Kendra Gevry

David and Ellen Ginsberg

Cindy and Andy Green

Greg and Stephanie Guyett

Daniel Heider

$10,000-14,999

Anonymous (2)

Mary K. Abercrombie

Ross and Judy Ain

Mr. and Mrs. Michael Baly, III

Ralph H. Baxter, Jr.

Mr. and Mrs. Richard T. Crawford

Gail Charnley and E. Donald Elliott

Mr. and Mrs. Glenn Finch

$6,000-9,999

Janice and Larry Clark

Phil and Joan Currie

Mr. and Mrs. Dennis de Tray

Mr. Edward A. Farquhar

Henrietta “Etta” Fielek

Drs. Jorge R. Gallardo-García and Viviana Vélez-Grajales

Mr. Woolf P. Gross

Dr. Elaine S. Jaffe and Mr. Michael Evan Jaffe

The Dallas Morse Coors Foundation for the Performing Arts

Dr. Gary Mather† and Ms. Christina Co Mather

Dana A. Hearn and Kevin J. McCloskey

Thelma Z. Lenkin

Jacqueline Badger Mars

Eric Shin

Larry Driver

Tom and Pamela Green

Janet and Jerry Kohlenberger

The Honorable Jan M. Lodal

Stella Boyle Smith Trust, Catherine and Michael Mayton, Trustees

Ms. Judy Honig and Mr. Stephen Robb

Mr. Frank F. Islam and Ms. Debbie Driesman

Helen Jackson and Joseph Sassoon

Admiral Jay L. Johnson and Sydney McNiff Johnson

Kathryn and J. Stephen Jones MD

Michael and Terri Lipsitz

Cathy and Scot McCulloch

Kathe and Bill McDaniels

Mr. Devon McFadden and Ms. Ronya Corey

Sarah and Christopher Mills

Jessine A. Monaghan

RJ and Heidi Narang

David Novy

Melanie and Larry† Nussdorf

Stanley Pierre-Louis and Natalie Williams

Josh Harris

Frederic Harwood and Nedda di Montezemolo

Sarosh Khan

The Kiplinger Foundation

Richard S. and Karen LeFrak

Charitable Foundation

Ken Leibowitz

Glen M. Johnson

Helen and David Kenney

Jane Mary Kwass

Sharon and Alan Levy

Heidi and Bill Maloni

RADM Dan and Jackie March, USN Ret

Joan and John McAvoy

Leah Chang and Ryan Naftulin

Mr. Robert K. Oaks

Mellon Foundation

Roger Sant and Doris Matsui

The Leonard and Elaine Silverstein Family Foundation Fund for the National Symphony Orchestra

The Volgenau Foundation

The Moxley Family Foundation

Jeanne Weaver Ruesch

Jeffrey Shockey

Tina and Albert Small, Jr.

Drs. Robert and Gail† Wilensky

Howard and Geraldine Polinger Family Foundation

Steven Portnoy and Ryan Manning

Mrs. Harriet Rogers

Michael and Deborah Salzberg

Brad and Sheryl Schwartz

Susan Silverstein Scott

Jeffrey and Leigh Senger

Dr. Heather Turnbow and Mr. Raghu Srinivasan

John and Eunice Thomas

Nina Totenberg and David Reines

Jerry and Carol Trautschold

Mr. John C. Wohlstetter

Mr. Georges Markow-Totevy

Jeannette J. Segel

Fredda S. Sparks

The Linda and Isaac Stern Charitable Foundation

Theresa Thompson

Steve and Jena Young

Mr. Joseph A. Page and Ms. Martha Gil-Montero

Ashley Rose and Jerry Horak

Justin A. Shirk

Claire and Jack Tozier

Michael and Alice Weinreb

Dr. and Mrs. Peter L. Willson

Thank You to Our Donors

$4,000-5,999

Anonymous (2)

Pennie and Gary Abramson

Ken and Liz Babby

David M. Bachman, M.D.

Dr. Mark Cinnamon and Ms. Doreen Kelly

George and Phyllis† Cohen

Helen Darling and Brad Gray

Gretchen and Douglas Davies

Tom Ehrgood

Robert Fahs

Jack Firestone

Alma Gildenhorn

Maggie Givens

Mr. and Mrs. Jurgen O. Gobien

Mr. and Mrs. Rolf Graage

Richard and Pamela Hinds

Joe† and Lynne Horning

$1,800-3,999

Anonymous (4)

Anja Allen

Mr. John Ausink and Ms. Elaine S. Simmons

Ann and Russel Bantham

Mr. and Mrs. Mitchell J. Bassman

Herschel V. Beazley

John† and Priscilla Becker

Elaine and Richard Binder

Robert Bleimann and May Chin

Jane B. Boynton

Mary Breiner

Ms. Linda Bunce

Mr. Vincent Careatti

Frank and Victoria Chang

Helen Chason

Susan Christie

Donna Christy

Robin Rowan Clarke

Robert M. Coffelt, Jr.

Mr. and Mrs. Anthony C. Collins

Sandra Cummins-Haid and Allen Haid

Col. and Mrs. James Dandridge II, Ret

Justin W. Danowski

Mr. Michael J. Dean

The Charles Delmar Foundation

Dr. Darrin and Mrs. April DeReus

Tracy Dietz

Peter and Sally DiGiovanni

Dr. Earl W. Donaldson

Aaron and Jackie Epstein

John Evans

Anita Fendrock

Ms. Nina M. Fite

Charles and Mita Forsyth

Dr. Stanley and Ronna Foster

Catherine French

Richard L. Gaiani

Carol Galaty and Kenneth Shuck

Ms. Pamela J. Garvie

Professor Joseph L. Gastwirth

Laura Genero, in memory of Elizabeth H. Genero

Brenda A. Pommerenke and Dr. Larry George

Karyn C. Gill and George M. Gill, MD

Dr. and Mrs. Michael Gold

Mr. Barry D. Goldberg

Jesse Goodman and Nicole Lurie

Thomas Graves and Jennifer Eubanks

Marianne Gustafson

Brian and Kaitlin Haggerty

Mr. and Mrs. Kevin Kampschroer

Isabelle Katzer

Henry B. & Jessie W. Keiser Foundation, Inc.

Erna and Michael Kerst

SooJung Kim

Edward Lenkin and Roselin Atzwanger

John and Jaime Martinez

Catherine McGuire

Sis and Jim McKay

In Honor of Jenny Mondie

Beret and Homer Moyer

Ronald Mueller and Larry Anthony

Ms. Madeline C. Nelson

Elise and Dennis Reeder

Jane† and David Reese

Admiral William Roberts and Patricia Roberts

Ms. Susan Z. Haller

Dr. and Mrs. H. Keith Hellems

Virginia Hendrickson

Lenese C. Herbert

Daniel Hicks and John McCall

Mr. and Mrs. J. Paul Horne

Christiane B. Huff

Stephen and Neda Humenik

Brian Hunter

Dr. Brian M. Ilfeld

Ms. Nancy E. Johnson

Ann L. Jones

Dr. Rachel Kaiser and Dr. Yves Konigshofer

Dr. Martha Kanter

Peter and Carol Kaplan

Irene and Louis Katz

Diane and Brian Keller

Stephanie Smith Kinney

Mr. and Mrs. William H. Kirchhoff

Jennifer Knoops

Mr. Michael and Young Hee Kreps

Janet Platt Lambert

Dr. and Mrs. Keith M. Lindgren

Michael Long

Judge and Mrs. Alan D. Lourie

Dr. Joyce S. Lowenstein

Mr. and Mrs. Frank Maddox

Hon. and Mrs. Kenneth L. Marcus

Dan and Karen Mayers

Ms. Kathleen T. McCollom

Mary Kay and Dorn McGrath

Susan McGrath

Alan and Ruth Melvin

Catherine Michaels

Mr. Jim Miller

Mr. Joseph J. Minarik

Arthur Mitchell

Clara Montanez

Susan and Fred Morhart

James Morris

Ms. Sakura Namioka

Kara Nath

Bruce and Son Young Nelson

Anna Nichols

Rich Oakley

David O’Connor

David and Marina Ottaway

Michael Pasich

Michael and Barbara Phillips

Tracy Pless

Mr. and Mrs. James J. Pohlman

Ellen and Roy Rosenthal

MG (Ret) and Mrs. Alan B. Salisbury

Steven and Donna Shriver

Christine J. Steiner

Dr. Barbara S. and Dr. Howard D. Stowe

Ms. Mary K. Sturtevant and Mr. Alan V. Asay

Paul and Chandler Tagliabue

Marilyn Walz Taylor

Charles Trozzo and Gail Rothrock

Mr. and Mrs. James G. Vaughter

Gloria M. Weissberg, PhD

Dr. Linda E. Wetzel

Kathleen G. Wicks

Mr. Christopher Wolf and Mr. James L. Beller, Jr.

David Worby

Mahy Polymeropoulos

George and Virginia Potts

Ms. Shannon Quill and Mr. Brian Miller

Jane Evans Ramsay

Mrs. Barbara Rapaport

William Reed

In Memory of Jane Reese

Henry & Anne Reich Family Foundation, Lee G. Rubenstein, Co-President

Thomas Richardson and Kyra Cheremeteff

Gerd and Duncan Ritchie

Mr. and Mrs. James P. Roach

Mr. and Mrs. William Ronsaville

Mr. and Mrs. Harry Rosen

Dr. Shirley Ross and Mr. Joseph Pinciaro

Robert and Fran Rubin

Mr. Charles A. Rubio, Jr.

Enric Sala

Ms. Patricia A. Sarcone

Mr. Ronald J. and Mrs. Rise F. Schlesinger

The Honorable Carol L. Schwartz

Cheryl L. Sharp

Byron and Elva Siliezar

Patricia L. Sims, Esq. and David M. Sims, Esq.

Ronald and Margaret Stehman

Douglas Struck

Evelyn A. Sweet

Kathy Szot

Kathleen M. Thies

Pauline Labbé Thompson

Kenneth Timmer

Steven and Prudence Traut

Raya Bakalov Treiser and Max Johnson

Capt. and Mrs. Eric Vanderpoel II, USN, Ret.

Laura and Kirk Wade

Pearl Y. Wang

Judy Ann and Richard Webster

Judith Weintraub

Ms. Rebecca Welch

Ms. Carla Wheeler and Mr. Jeffrey P. Naimon

Lawrence Wilkerson

Leslie-Ann Williams

Al Wilson

Dr. Ursula R. Wolfman

Robert Woodward and Elsa Walsh

Clinton B. Wright

Daniel Zak

Orchestrated Lives

Each month, the National Symphony Orchestra (NSO) spotlights a different musician. For this program, orchestra librarian Elizabeth Cusato Schnobrick discusses her team’s @NSO_Librarians Instagram page, the necessity of bowings, and what it takes to prepare a piece for performance.

Name: Elizabeth Cusato Schnobrick

Hometown: Anchorage, Alaska

Role: Principal Librarian

Years with the NSO: 17

How did you find your way to working as a professional music librarian?

I taught band and orchestra for eight years, and I was looking for something temporary to do as a sabbatical. I ended up doing an internship with the Philadelphia Orchestra that I thought would last for one year, but it became a career.

Could you explain the work of a music librarian in your own words?

We are tasked with getting the right music to the right place at the right time, so we work with Artistic Planning and conductors to figure out what editions they want to use and whether they have any specific markings or that need to be added to the parts. We work with Personnel to make sure that everybody knows how many musicians are needed, and with Operations to help them with information about what needs to fit on the stage. Every sheet of music that goes onto the stage is bespoke; it is for that specific moment in time. Even though a Beethoven symphony has been around for a really long time and there aren’t significant changes being made to it, if we pull a Beethoven out of the library, we still check every single page. Orchestra librarians need to have had performing experience to understand what a player sitting on the stage is experiencing and give them what they need to be successful.

What does it mean to “mark the bowings?”

To put it simply, string players either move their bow up or down, and there’s a specific notation for each of those two motions. Our string principals examine each piece of music and either create bowings from scratch or confirm that the bowings already in the part feel right to them. We then compare the principal parts against every part in their section to make sure that the penciled markings on each page are identical.

Can you tell me about the origin of the @NSO_Librarians Instagram page?

We were sitting around as a trio, talking about how people always have questions about what we do and who we are, and we had this idea that we would start an Instagram page to share what it’s like to be an orchestral librarian. In the initial stages, we thought it would be very how-to, but it has turned out to be more whimsical, which has been delightful. We really enjoy what we do and who we do it with, and I think that comes out in the posts.

If you could say one thing to NSO audiences, what would it be?

I think that music has the power to be life-changing. I think it finds us in the liminal spaces. I think that it is unifying and inspiring. Through the shared experience of live music, we can all become bigger and better than we were. I hope, when audiences come to our concerts, that is their experience.

This interview has been edited for length and clarity.

Support your ORCHESTRA

The mission of the National Symphony Orchestra is to engage audiences locally, across the country, and around the world through excellence in performance and education. Each year, the NSO offers approximately 150 concerts as well as some of the country’s most extensive community and educational programming. It regularly participates in events of national and international importance, including performances for state occasions, highlevel government events, and regularly televised holiday appearances for Capitol Concerts and local radio broadcasts on WETA, making the NSO one of the most-heard orchestras in the country.

Give your support in this 95th season by becoming a Member, joining the NSO Circles, or pledging a Legacy Gift. Visit tkc.co/SupportNSO or scan the QR code.

Thank You to Our Supporters

The Trump Kennedy Center Board of Trustees

National Symphony Orchestra Board of Directors

The Trump Kennedy Center President’s Council

The Trump Kennedy Center International Committee on the Arts

President’s Advisory Committee on the Arts

National Committee for the Performing Arts

National Symphony Orchestra National Trustees

The Trump Kennedy Center Circles Board

The Trump Kennedy Center Community Advisory Board

The Trump Kennedy Center Corporate Fund Board

The Trump Kennedy Center 50th Anniversary Committee

Corporate Donors

Individual and Foundation Donors

Endowment Gifts, Bequests, and Legacy Donors

Building the Future Campaign Donors

Visit tkc.co/Support for a full listing of donors and to learn how you can join us by becoming a Member.

Andrew Geraci

NSO Presents: Alexandra Dovgan

Alexandra Dovgan has become a teenage piano phenomenon with sold-out concerts worldwide. Witness her extraordinary talent in a performance of Chopin’s passionate Piano Sonata No. 3, Prokofiev’s complex Piano Sonata No. 2, and more. Please note: the NSO does not perform on this program.

March 14, 2026 at 3 p.m.

NSO Family Concert

Philharmonia Fantastique: The Making of the Orchestra

Told through a mesmerizing hybrid of animated and live action filming, a magical Sprite embarks on a musical journey through the inner workings of an orchestra! Violin strings vibrate, brass valves slice air, and drumheads resonate like you’ve never seen before—all set to live music from the National Symphony Orchestra.

March 29, 2026 at 2 p.m.

Death and Transfiguration | Khachatryan plays Sibelius

Strauss traces the final moments of a life: memories surface, struggles fade, and a soul wins its final release. Under the baton of Simone Young, the NSO displays the full scope of Strauss’ vision. Sergey Khachatryan brings fire to Sibelius’ Violin Concerto.

April 2, 2026 at 7 p.m.

April 3, 2026 at 11:30 a.m.

April 4, 2026 at 8 p.m.

2025–2026 CLASSICAL SEASON PERFORMANCE CALENDAR

NSO Presents*

Alexandra Dovgan

Sat., Mar. 14, 2026 at 3 p.m.

Death and Transfiguration

Khachatryan plays Sibelius

Thu., Apr. 2, 2026 at 7 p.m.

Fri., Apr. 3, 2026 at 11:30 a.m.

Sat., Apr. 4, 2026 at 8 p.m.

Bruckner’s Seventh Gerlach plays Haydn

Fri., Apr. 10, 2026 at 8 p.m.

Sat., Apr. 11, 2026 at 8 p.m.

Mozart’s “Jupiter” & Bach’s Brandenburg No. 1

Wed., Apr. 15, 2026 at 7 p.m.

Thu., Apr. 16, 2026 at 7 p.m.

Fri., Apr. 17, 2026 at 8 p.m.

NSO Presents*

Khatia Buniatishvili

Fri., Apr. 24, 2026 at 8 p.m.

Opera in Concert

Puccini’s Il trittico

Wed., Apr. 29, 2026 at 7 p.m.

Fri., May 1, 2026 at 7 p.m.

Gaffigan conducts Ives and Copland

Fri., May 29, 2026 at 8 p.m.

Sat., May 30, 2026 at 8 p.m.

Cann plays Coleman

Fri., June 5, 2026 at 8 p.m.

Sat., June 6, 2026 at 8 p.m.

Dalene plays Barber

Fri., June 12, 2026 at 8 p.m.

Sat., June 13, 2026 at 8 p.m.

*Please note: The National Symphony Orchestra does not perform in these concerts.

For 250 years, America’s story has been told through the voices of its artists, the rhythm of its music, the words of its writers, and the movement of its dancers. It is a story of resilience and reinvention, of dreams daring enough to redefine what was possible, and of creativity that has not only shaped a nation, but the world.

As the nation marks 250 years since the signing of the Declaration of Independence, the Center invites Americans everywhere to take part in 250 Years of US, a yearlong exploration of who we are, where we’ve been, and where we’re going. Through music, theater, dance, and visual art, 250 Years of US celebrates the boundless imagination of a people united by creativity.

SHARE THE JOY of the ARTS

A toast before the show. A meal with a view. A selfie in the foyer. At the Trump Kennedy Center, it’s not just about the performance, it’s the moments you share before and after the curtain rises.

Here, you’ll find joy and awe, surprise and wonder. When you come for a performance, you’ll leave with something more. Because what you feel—and who you feel it with— becomes the memory you both carry.

CURTAIN UP

Patrons share their first experiences at the Center.

Louisa and Savanah

My daughter Louisa went to her first Center performance in January 2024 at age five. It was a mother-daughter date with her friend Eliza and Eliza’s mom Joy. The girls both dressed as Elsa, and it happened to be a snowy day in D.C. The magic of Frozen, along with the wonder created by the atmosphere made for an unforgettable first experience!

Maka

I remember the first time I saw the Center. It was a tapestry of rainbow lights, holding its own in the vast D.C. skyline. I gaped as my mom drove us right up next to it. It was big, but somehow more welcoming than intimidating.

The grand hall led into yet another equally grand one, where I felt as if I were walking the red carpet, with imported

Louisa and friend Eliza, both dressed as Elsa, wait outside the Opera House to see Frozen.

crystal chandeliers far overhead. I thought that this in and of itself was magical, but the real magic was inside the theater. I whipped out my phone to take a picture of the illuminated ceiling, but as soon as the lights dimmed and the show started, I forgot phones existed. My mom and I were there to see & Juliet, and we were blown away by the acting, music, and lights that went into the production. At the end, my face hurt from smiling and my hands hurt from clapping, and it was worth it.

Diann

My family and I came to see The Princess Bride in Concert with the National Symphony Orchestra. Both of our boys play viola, and The Princess Bride is a very loved movie in our family so it was meant to be…

The best thing is, I have a service dog, Eugene, and we were welcomed without issue. The kindness started when I first emailed to see what seating was like to make sure that Eugene would fit under the chair. In the response to my email, I received kindness, dimensions, photos, and was asked to reach out to book my seats if I needed any assistance.

Overall, I was highly impressed with the hospitality of this venue. 10/10 will be attending another event!

Benjamin

As I watched the curtain rise on the opening night of the Stuttgart Ballet’s performance of Onegin, I felt a great sense of excitement swell within me. The sheer beauty of the dancers, sets, and costumes was almost overwhelming and reminded me that beauty truly is something objective, because that is the best way to describe this ballet: beautiful.

Following the bows, I could not get Onegin out of my head; something about it was so magnetic and hypnotic that I ended up returning twice more to witness the spectacle. Each night I sat in a different location around the Opera House, giving me a unique experience each performance, and each night, I picked up on new details and nuances that I had not been keen enough to see before.

While it would be impossible to name one scene as my favorite, the finale was so gut-wrenching and emotional that I will never forget what true passion looks like.

Diann’s children pose by the riverfront before The Princess Bride in Concert.

Take home... a musical memory.

Mozart Magic Flute Earrings

These exquisite earrings bring Mozart’s masterpiece to life with fluteinspired details that create a visual symphony. $42

NSO Cap and T-shirt

Our new National Symphony Orchestra cap and tee let you show your pride in our world-class symphony. $30 each

Make Your Own Music Mug

No better way to start your day than with a coffee mug imprinted with blank sheet music and sticker notes so you can compose your own melody. $20

Visit our two gift shops on Level A and in the Hall of States. Shop online 24/7 at tkc.co/shop

Create an experience... that will last a lifetime.

WEDDINGS AT THE REACH

REACH wedding rentals offer a variety of indoor and outdoor venues to create an unforgettable celebration of love. Situated on the south end of the Trump Kennedy Center Campus, the REACH is a premier Washington, D.C. event venue. With stunning views of the Potomac River, the largest green roof in D.C., and multifunctional event spaces, the REACH provides new elegance with a modern aesthetic.

Visit tkc.co/weddings or scan the QR code for more information.

NSO Presents: Khatia Buniatishvili

Pianist Khatia Buniatishvili, “a rock star in the classical music world” (New York Post), explores the full range of Franz Liszt’s music, from lyrical intimacy to high-voltage power�

Please note: the NSO does not perform on this program

April 24, 2026 | Concert Hall

When life doesn’t stick to the script, we’re here for you.

From our connected urgent care network and on-demand 24/7 telehealth to lifesaving specialty care, we’re here when and where you need us.

Behind every visit at MedStar Health is a team of top-rated providers, who together make up one of the region’s most respected health systems.

It’s how we treat every patient…with the best of our hearts, and the best of our minds.