Issuu

Hisaishi conducts Hisaishi Joe Hisaishi’s World Premiere Concerto,

Music from The Boy and the Heron & more

Nick Rutter

The Keys give you a show above and below the surface. From art galleries to museums and live music, no place inspires more freedom of expression. In The Keys, you’re part of the performance.

VisitFloridaKeys.com/arts-culture 1.800.Fla.Keys

THE DONALD J. TRUMP AND JOHN F. KENNEDY

CENTER FOR THE PERFORMING ARTS

MAY 14, 15 & 16, 2026 AT 8 P.M.

STEVE REICH Three Movements

JOE HISAISHI Symphonic Suite The Boy and the Heron for piano and orchestra

INTERMISSION

JOE HISAISHI Concerto for Orchestra (World Premiere – NSO Co-Commission)

THANK YOU TO OUR SEASON SPONSOR

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.

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

Gianandrea Noseda

Director, National Symphony Orchestra

Music Director, National Symphony Orchestra

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

Composer’s Note

Symphonic Suite The Boy and the Heron for piano and orchestra

Symphonic Suite The Boy and the Heron for piano and orchestra is a concert piece based on the music I wrote for Mr. Hayao Miyazaki’s 2023 film of the same name.

The film starts with a realistic view of daily life and later moves into a darker fantasy world. To connect these two parts through music, I used a minimalist approach—repeating short phrases and slowly changing them over time.

Since the film seems to reflect Mr. Miyazaki’s personal inner world, I placed the piano, which I play myself, at the center of the music. The orchestra plays a quieter and supporting role. I avoided dramatic effects and kept some distance from the story on screen, so that the director’s message could come through more clearly. I was happy that Mr. Miyazaki liked the result.

In April 2025, we recorded this suite along with my Symphony No. 3 at AIR Studios and Abbey Road Studios in London with the Royal Philharmonic Orchestra. The performances and recordings went very well, and I’m proud of what our team achieved.

The suite follows the flow of the film, and I also changed some of the orchestration to make the music more expressive. I hope it shows a different kind of world from the symphonic suites I’ve made before.

Composer’s Note

Concerto for Orchestra

Concerto for Orchestra was composed as a joint commission by 10 organizations, including the National Symphony Orchestra and the Toronto Symphony Orchestra.

This form, which treats the orchestra itself in a concerto-like manner, is well known through the works of composers such as Bartók, Lutosławski, and Kodály, and has also been taken up by many others as a worthwhile challenge. At the same time, it presents certain conceptual difficulties. In most compositions, composers develop a work by engaging both logical and intuitive imagination— deciding on themes and what they wish to express through the work. However, in the form of a Concerto for Orchestra, the performance of the orchestra members themselves becomes the primary focus of expression. In other words, rather than using the orchestra to express something external, the orchestra itself becomes the subject of expression.

At first, I too found this approach somewhat perplexing. Yet rather than expressing something arbitrary, my aim—like that found in the works of Bach and other Baroque composers—has been to pursue the pure motion of sound. Drawing on my experience conducting works such as Bartók’s Concerto for Orchestra and Steve Reich’s The Desert Music, I approached this composition with an awareness of the origins of minimal music. The first and third movements adopt a more contemporary rhythmic approach, while the second and fourth movements feature melodic solo passages for individual instruments. The final movement (which, as I write this, I am still rushing to complete) brings these elements together, thereby forming the overall structure of the work. The piece will be a five-movement work of approximately 45 minutes.

The performance is extremely demanding. As a composer, I deeply reflect on this, but based on my experience conducting orchestras around the world, I have great faith in the high performance standards of today’s orchestras. I sincerely hope that both the orchestra members and the audience will enjoy the entertainment that lies beyond.

April 2026

Joe Hisaishi

Co-commissioned by:

National Symphony Orchestra, Toronto Symphony Orchestra, Carnegie Hall, Joe Hisaishi Foundation, Colorado Symphony, San Francisco Symphony, Orchestre de Paris, Royal Philharmonic Orchestra, Chicago Symphony Orchestra, and Orchestra dell'Accademia Nazionale di Santa Cecilia.

Meet the Artists

Joe Hisaishi, composer, conductor

Joe Hisaishi, a composer, conductor, and pianist, has established himself as a formidable force in contemporary music for his delicately crafted symphonic and solo works, as well as his globally successful film music. Hisaishi is greatly in demand as a conductor performing with the most notable symphony orchestras across the globe. With nearly 40 solo albums and over 100 film scores to his name, he is one of the most celebrated composers of our time.

Hisaishi’s recent symphonic engagements have seen him conducting the Toronto and Chicago symphony orchestras; the Royal, Helsinki, and Rotterdam philharmonic orchestras; and the Wiener Symphoniker. Alongside his film music works, he conducts classical repertoire from the likes of Ravel, Reich, Mussorgsky, Brahms, and Pärt, and his own symphonic compositions such as DA-MA-SHI-E and The East Land Symphony. Hisaishi also had a successful week-long residency with Seattle Symphony, where he led three sold-out concerts, curated and conducted a chamber concert dedicated to contemporary music from his peers, and participated in a panel discussion with young audience members. After a successful debut at the Hollywood Bowl in 2023, Hisaishi returned to the Los Angeles Philharmonic for the world premiere of his Harp Concerto, commissioned by the orchestra and performed by their own harpist, Emmanuel Ceysson.

In 2025, Hisaishi made debut performances with the Cleveland Orchestra, the Pittsburgh Symphony

Orchestra, the Philadelphia Orchestra, and at the BBC Proms with the Royal Philharmonic Orchestra, where his work The End of the World was programmed with Steve Reich’s Desert Music. In the 2025–2026 season, Hisaishi returns to the Philadelphia, Chicago, and Toronto symphony orchestras and will premiere his new work, Concerto for Orchestra, with various high-level orchestras across the globe, including the National Symphony Orchestra and Toronto Symphony Orchestra.

Renowned for his long-standing collaboration with Japanese anime director Hayao Miyazaki, Hisaishi has won international awards for his scores. His popular soundtracks for Spirited Away, My Neighbor Totoro, Howl’s Moving Castle, Kiki’s Delivery Service, and Ponyo, among others, capture his sensitive and imaginative amalgamation of the symphonic and minimalist genres. Many of these iconic works have been brought to huge live audiences in his recent sold-out performances in Madison Square Garden, La Defense in Paris, Olympic Hall in Munich, and Tokyo Dome over three concerts, each with a 40,000-person audience. Autumn 2024 saw a two-day residency at Royal Albert Hall in London for his “Hisaishi Symphonic” live shows, which included Princess Mononoke Suite and his Symphony No. 2, as well as Britten’s Four Sea Interludes with the Royal Philharmonic Orchestra.

A Deutsche Grammophon exclusive artist, Hisaishi has released the titles Merry-Go-Round of Life and A Symphonic Celebration, both of which are new arrangements that bring a fresh excitement to his Studio Ghibli masterpieces. Joe Hisaishi in Vienna features the world-premiere recordings of two of his compositions—Symphony No. 2 and Viola Saga with Wiener Symphoniker and soloist Antoine Tamestit—and his most recent

recording Joe Hisaishi Conducts, released in August 2025, includes the music of Reich alongside his The End of the World, a work that explores the “anxiety and chaos” resulting from the collapse of global order and values in the aftermath of 9/11.

As a passionate pioneer of contemporary music, Hisaishi collaborates with similarly experimental artists, including Nico Muhly, Bryce Dessner, Nadia Sirota, Philip Glass, David Lang, and Terry Reilly. Since 2014, he has been presenting his eponymous “MUSIC FUTURE” concerts in Tokyo, bringing together the works and talents of these notable collaborators. Volume 12 of the series enjoyed an airing in Tokyo in autumn 2025, and he has also previously travelled with the series to Carnegie Hall in New York in 2022 and Seattle in 2024. He holds the Young Composer’s Competition every year to inspire and empower young composers, and the winning composition makes its world premiere at his “MUSIC FUTURE” concerts.

Hisaishi is the recipient of both the Medal of Honor with Purple Ribbon, received in 2009, and the Order of the Rising Sun, Gold Rays with Rosette in 2023 by the government of Japan. Hisaishi is the Music Director with the Japan Century Symphony Orchestra. Hisaishi was also appointed as Composer-in-Association of the Royal Philharmonic Orchestra in April 2024, Composer-in-Residence of the Philadelphia Orchestra in October 2025, Composer-in-Focus of the Los Angeles Philharmonic, and Composer in Association of the Paris Philharmonie in 2026.

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.

Opera

A musical play with singers who perform a staged version of the dramatic text—the libretto.

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.

Tone poem

An orchestral piece meant to convey a non-musical subject such as an art piece, landscape, story, or mood.

Rhapsody

A one-movement composition without a strict formal structure. Rhapsodies often include improvisation and evocative contrasts.

Counterpoint

The interaction of multiple melodies to create a larger musical product.

Tempo Markings

Adagio - slow, at ease

Andante - moderately slow, walking pace

Moderato - moderate

Allegretto - slightly slower than allegro

Allegro - fast, bright

Vivace - fast, lively

Additional Markings

Non tanto - not as much

Ma non troppo - but not too much

Molto - very

Con delicatezza - with delicacy

Cantabile - in a singing style

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**

Susan Midkiff**

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

Nancy Thomas

Jennifer Mondie

Tsuna Sakamoto

Ruth Wicker

Mahoko Eguchi

Abigail Evans Kreuzer

Rebecca Epperson

Jacob Shack

Johanna Nowik

Chiara Dieguez**

CELLOS

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

Raymond Tsai, Assistant Principal

David Teie

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

Seth Cook**, Acting Principal

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

Lisa Emenheiser*

ORGAN

William Neil*

LIBRARIANS

Elizabeth Cusato Schnobrick, Principal

Zen Stokdyk, Associate

Karen Lee, Assistant

PERSONNEL

Karyn Garvin, Director

Brooke Bartolome, Manager

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

EXECUTIVE TEAM

Nigel Boon, Vice President, Artistic Planning & Co-interim Executive Director

John Roloff, Vice President, Operations & Co-interim Executive Director

Kasama Apfelbaum, Vice President, Financial Planning & Analysis

Sabryn McDonald, Executive Assistant

ARTISTIC PLANNING

Justin Ellis, Senior Producing Director

Ana Vashakmadze, Artistic Administrator

DEVELOPMENT

Laney Pleasanton, Manager of 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

Ada Morrison, Director, Marketing & Sales Analytics

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, Operations 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

Ambassador Richard Grenell

President, John F. Kennedy Center for the Performing Arts Ambassador Richard Grenell

President, John F. Kennedy Center for the Performing Arts

Chief Operating Officer and Executive Director

Ambassador Richard Grenell

Chief Financial Officer

Donna Arduin

Chief Financial Officer

Chief Financial Officer Donna Arduin

Donna Arduin

Chief Financial Officer Donna Arduin

Ambassador Richard Grenell Financial Officer Donna Arduin

General Counsel

Elliot Berke

General Counsel Elliot Berke

Elliot Berke

Senior Vice President, Development

Lisa Dale

Senior Vice President, Development Lisa Dale

Vice

Senior Vice President, Marketing Robin Osborne

Senior Vice President, Marketing

Senior Vice President, Marketing Robin Osborne

Senior Vice President, Marketing�� Robin

Robin Osborne

Senior Vice President, Marketing Robin Osborne

Senior Vice President, Special Events

Senior Vice President, Special Events Bronagh Donlon

Bronagh Donlon

Senior Vice President, Special Events Bronagh Donlon

Vice President, Public Relations Roma Daravi

Senior Vice President, Special Events Bronagh Donlon Vice President, Human Resources��

Vice President, Human Resources��

Vice President, Human Resources Ta’Sha Bowens

Vice President, Human Resources�� Ta’Sha Bowens

Vice President, Human Resources Ta’Sha Bowens

Senior Vice President, Special Events Bronagh Donlon

Vice President, Operations

Matt Floca

Vice President, Operations Matt Floca

Vice President, Education Jordan LaSalle

Vice President, Education

Vice President, Education Jordan LaSalle

Chief Information Officer

Jordan LaSalle

Vice President, Education Jordan LaSalle

Vice President, Public Relations

Vice President, Public Relations Roma Daravi

Roma Daravi

Vice President, Public Relations

Roma Daravi

Vice President, Public Relations Roma Daravi

Chief Information Officer

Bob Sellappan

Chief Information Officer Bob Sellappan

Executive

Executive Director, National Symphony Orchestra

Executive Director, National Symphony Orchestra Jean Davidson

Executive Director, National Symphony Orchestra

Jean Davidson

Executive Director, National Symphony Orchestra Jean Davidson

General

General Director, Washington National Opera Timothy O’Leary

General Director, Washington National Opera

General Director, Washington National Opera Timothy O’Leary

Timothy O’Leary

Concert Hall Staff

Theater Manager

Allen V. McCallum Jr.

Theater Manager Allen V. McCallum Jr.

Theater Manager

Allen V. McCallum Jr.

Theater Manager Allen V. McCallum Jr.

Box Office Treasurer

Box Office Treasurer Deborah Glover

Allen V. McCallum Jr. Box Office Treasurer

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

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

Stage Crew Zach Boutilier, Chandler Bryant, Michael Buchman, Paul Johannes, April King, John Ottaviano

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

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

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.

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.

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 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.

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.

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 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, D.C. Federation of Musicians, AFM Local 161-710.

National Symphony Orchestra musicians are represented by the Metropolitan Washington,

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

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

Katherine Armstrong

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

Daniel Heider

Helen Jackson

Ann D. Jordan, Lifetime Dir.

Vlad Khomenko

Gerald L. Kohlenberger, ex officio

Michael Lipsitz

Jan M. Lodal

Timothy R. Lowery

Katherine Marshall

Heidi Narang

Michael Salzberg

Roger W. Sant

Susan Silverstein Scott

Tina B. Small

David B. Novy

Cathy McCulloch

Sarah Mills

Jeanne Weaver Ruesch

Sheryl Schwartz

Jeffrey M. Senger

Jeff Shockey

Raghu Srinivasan

Courtney Straus

Meaghan VerGow

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

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

Ex-Officio Positions

Michael Mayton, AR, Past Chairman

Jessine Monaghan, DC, Past Chairman

Mary K. Abercrombie, ID, Past Chairman

Laura Kerr-Engstrom, OK

Tom Mims, FL

The Rostropovich Legacy Guild

Theresa Thompson, VA

James Ward, NM

John Wohlstetter, SC

Stephen T. Young, GA

Members of the Rostropovich Legacy Guild have designated future gifts to support the National Symphony Orchestra’s artistic, educational, and community programs. The Guild honors cellist and former Music Director Mstislav Rostropovich, whose legacy continues to inspire the NSO.

Anonymous (4)

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Orchestrated Lives

Each month, the National Symphony Orchestra (NSO) spotlights a different musician. For this program, bass player Alex Jacobsen discusses orchestral compromises, the future of the NSO, and his love for out-of-the-box arrangements.

Name: Alex Jacobsen

Hometown: Albuquerque, New Mexico

Instrument: Bass

Years with the NSO: 13

How did you find your way into the world of the professional bass? I come from a musical family. My dad’s side is a lot of lawyers, geologists, and historians, but my mom’s side is basically all musicians. I started playing piano when I was in first grade, and then I started cello in fifth grade. In middle school, I wanted to play jazz and funk, so I switched to electric bass, and, by the time I got to high school, I had sort of combined those into upright bass. I just took to it like a fish to water. Orchestra really got exciting when I started being able to play in really good orchestras, which sometimes takes a long time.

What do you think makes the NSO special as an orchestra? I joined 13 years ago, and I really didn’t know anything except how to play bass. Right away, I found that there are so many people in this group that are selfless by instinct—very, very generous. There’s a strong tradition of friendliness at the NSO that I really value. Being a good orchestra is not just about attracting the best talent; it’s also about having a will to play together. There’s an emotional cost to the compromises; you want to feel seen and appreciated, and so does the person to your right, and so does the person to your left. One thing I really love about this orchestra—and the bass section especially—is that we have a lot of different ways we like to play, but we also really like playing together. We’re committed to it.

Was composition something that you became interested in as you were picking up instruments, or did that come later in life? I definitely became interested in composition while playing jazz as a kid. You learn more about music theory and harmony from playing jazz than by taking every music harmony class in college, because you have to compose if you play jazz. You must improvise.

I do a lot more arranging now, taking a melody that already exists. I have a lot of friends in the woodwind section, but there are not a lot of pieces for, for example, woodwind and bass quartets. I like to arrange well-known pieces for strange ensembles with my friends. Balance and blend are almost always the biggest issues, but it’s worth it because I like doing stuff that other people haven’t done before. I find that, if you do popular pieces, even if it’s a bad arrangement, people will usually enjoy it because it’s sort of like karaoke. Worst-case scenario, it’s just fun.

Do you have a favorite or most surprising, on-stage or off-stage NSO memory? One of the things that I’ve learned about being a professional musician is that it takes so much of my concentration in any given week to play the music that, by the time I get to the next week, I have forgotten all about the previous week. It’s nice when things are not surprising, though, which is why the next two years are going to be a special challenge—everything’s going to be surprising. I’d rather not move out of the Center, but moving out doesn’t mean that we can’t continue to fulfill our mission. Our job is to bring beauty into the world, and we can still do that if we’re not here.

If you could say anything else to NSO audiences, what would it be? It’s impossible to overstate how much we appreciate every single person who makes the decision to come listen to us. We struggle to fill halls ordinarily, and a lot of folks have been staying away over the last year, which has been especially challenging. There was a moment a few months ago when the audience was not very big, but we stood up at the end of the show, and someone in the balcony took out a sign that said: “WE LOVE NSO.” I just started crying—I was so grateful. And that’s such a small thing, but every single person coming to see us means that much to us.

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

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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

More Concerts this Season!

Top Gun: Maverick in Concert

Top Gun: Maverick in Concert features the NSO performing the original music score composed by Harold Faltermeyer, Lady Gaga, and Hans Zimmer and produced by Lorne Balfe. Facing an uncertain future and confronting the ghosts of his past, Pete “Maverick” Mitchell (Tom Cruise) is drawn into a confrontation with his own deepest fears, culminating in a mission that demands the ultimate sacrifice from those who will be chosen to fly it. Rated PG-13

May 20 & 21, 2026 at 7 p.m.

Charles Ives’ Three Places in New England paints an evocative portrait of history and memory. Aaron Copland’s Appalachian Spring Suite follows—a radiant work of optimism crowned by its iconic “Shaker” melody. Conductor James Gaffigan closes the evening with Mahler’s Symphony No. 1, charting a youthful “Wayfarer’s” journey through darkness to a triumphant, heroic climax.

April 29 & 30, 2026 at 8 p.m.

Porgy and Bess & Coleman Piano Concerto

Michelle Cann returns to perform a world premiere by Valerie Coleman. Conductor Kellen Gray frames the evening with works reflecting the breadth of our nation’s story: Dvořák’s American Suite, inspired by his time in the U.S., and the Catfish Row suite from Gershwin’s Porgy and Bess. Appalachian Spring & Mahler’s First

June 5 & 6, 2026 at 8 p.m.

2025–2026 CLASSICAL SEASON PERFORMANCE CALENDAR

Appalachian Spring & Mahler’s First

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

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

Kennedy Center Chamber

Players: Spring Concert

Mon., May 31, 2026 at 2 p.m.

*Full orchestra does not perform.

Porgy and Bess & Coleman Piano Concerto

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

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

An American in Paris & Barber Violin Concerto

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.

Matthew Murphy

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.

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