TKC NSO Pops, American Promise, February 2026 by Encore Magazine

American Promise with Girl Named Tom

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THE DONALD J. TRUMP AND THE JOHN F. KENNEDY MEMORIAL CENTER FOR THE PERFORMING ARTS, FEBRUARY 13 & 14, 2026 AT 8 P.M. | CONCERT HALL

Enrico Lopez-Yañez, conductor

Ryan Silverman, narrator

Girl Named Tom

JOHN STAFFORD SMITH (arr. Enrico Lopez-Yañez)

“The Star-Spangled Banner”

JOAN TOWER “Fanfare for the Uncommon Woman”

KAREN LEFRAK “Lady Liberty Suite”

i. Arrival

ii. The City

iii. A New Land

VALERIE COLEMAN “Umoja – Anthem of Unity”

KAREN LEFRAK “Prairie Dawn”

KAREN LEFRAK “American Promise”

INTERMISSION

PETER BOYER “Festivities”

Girl Named Tom selections to be announced from the stage.

This program is a part of

For more information, visit tkc.co/250

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

“Lady Liberty Suite” KAREN LEFRAK

You’re on the bow of the ship. You and your family. Emotions of anxiety fill your being. Anxiety from the fear you lived with in the country you’ve left behind… anxiety about what lies ahead. You’ve heard of this new world, but the fog is so thick you can’t see a thing. All is quiet. And then… a ship’s bell rings… and then another. A sign that you are around other ships and may be nearing land. And as the fog lifts, you begin to see her. At first, just a hand in the air… holding a torch… a beacon of light. Slowly, she comes into view… all of her. Something about the way she stands… the way she looks… her very presence creates a sense of relief… of hope.

…and it’s in that emotional state that you begin to hear the melody of “Arrival” from the “Lady Liberty Suite.” You still don’t see all the land ahead, just the sound of a solo trumpet playing that simple, beautiful, reassuring melody. As the land comes into view, the warmth of the strings playing the melody feels somehow safe and calming. As more of the city emerges from the fog, you hear the woodwinds playing the melody, and finally, the entire orchestra playing that beautiful melody. It’s music that sends a powerful and emotional message that the trip was worthwhile… that this is a place to begin a new life. And as the ship pulls up to the pier, the solo trumpet comes back to end the piece. A poignant reminder of the hope that you feel inside.

In “The City,” the horizon glows as the ship approaches land. Slowly, the skyline emerges—tall, defiant, gleaming in the new day’s light. Towers rise like beacons, marking the gateway to a place alive with movement and possibility. The music begins in motion: strings in perpetual, breathless energy—like footsteps on crowded sidewalks, like the endless hum of a city that never sleeps. Every note presses forward, charged with anticipation. Then, soaring above, comes the melody: brass and strings united in a voice of hope, carrying the promise of a better life, a fresh start, and a dream worth the journey.

This is New York as seen for the first time—streets alive with countless languages, scents, and flavors from every corner of the world, rhythms clashing and blending into something unmistakably American. It is the sound of possibility—grand yet intimate, bold yet deeply human. The piece is not just a portrait of a city, but of an idea: that liberty is more than a monument—it is a living force, ever-renewed by those who arrive at its gates with eyes wide open and hearts full of hope.

From the first resonant chords of “A New Land,” the music stands tall—stoic and poised, as if surveying the horizon of an unfamiliar shore. Across the orchestra, each family of instruments adds its voice: the warm foundation of the strings, the noble rise of the brass, the clear call of the winds, and the grounding pulse of the percussion. Together, they weave a portrait of determination and quiet hope.

This is the beginning of a new life, full of promise—a journey into a land that will grow into the great United States. The melodies are measured yet resolute, their dignity matched by an undercurrent of forward motion. Hints of lyricism break through like sunlight on a calm sea, foreshadowing the richness and possibility ahead.

As the music unfolds, it becomes not just a personal voyage, but a national one—an echo of the countless arrivals and beginnings that have shaped America’s story. In honoring the Declaration of Independence, the work reflects on the founding ideals that continue to inspire us: liberty, perseverance, and the belief that from a single hopeful step, a better future can be built.

“Prairie Dawn”

KAREN LEFRAK

In the New World, life has taken root. Hope and promise—once distant dreams—now form the soil in which generations grow. The children thrive, their voices and laughter carrying into a future that the parents, the forefathers, could only imagine when they first set foot on this land.

This music is their quiet gratitude: a moment to pause, to watch in awe the life they have built, and to offer a silent prayer for its continuation. The clarinet carries this melodic prayer—tender, introspective, and full of warmth—its phrases unfolding like a voice in conversation with the heart. Around it, lush strings enfold the listener in a gentle embrace, while the harp adds soft, colorful glimmers, like sunlight through morning leaves.

It is a meditation on thankfulness, resilience, and the unspoken bond between past and future. The work honors not only our nation’s founding, but also the daily, personal acts of care and hope that give those ideals their lasting life.

“American Promise”

KAREN LEFRAK

The album American Promise is a musical journey through hope, arrival, endurance, and belonging, recorded by the London Symphony Orchestra under the direction of William Ross. “American Promise” is the first piece in the album, which is a portrait in sound of the enduring spirit of America: the courage to arrive, the strength to endure, and the unshakable belief that in this land, hope has a home.

Composed to celebrate the 250th anniversary of the Declaration of Independence, “American Promise” opens in exhilarated anticipation—the melody of Freedom in the brass asks the question: what is the promise of America? A still dawn over the land of opportunity follows, moved forward by persistent low strings and a snare drum. Soft winds, reiterating the Freedom motif, emerge like the first light over an open prairie. The air feels cool, the horizon wide, and the music speaks in the language of beginnings. In these first moments, the melodic fragments are gentle and tentative, as if new arrivals are stepping onto unfamiliar soil, carrying little more than their dreams and the hope of a better life.

The piece reaches a first crest—the full orchestra engaged—with themes interweaving in noble counterpoint. It is celebratory yet never boastful; the strength here is born of endurance and shared purpose.

Midway, there is a sudden shift, and the clarinet steps forward—warm, lyrical, and prayerlike. It sings a folk-like theme that feels both personal and communal, carrying the weight of gratitude for this new homeland. Around it, the strings create a shimmering foundation, and a harp threads delicate colors through the texture, like sunlight glinting on a river. The strings state the theme—the sound of putting down roots—of building a home in a place where the promise of tomorrow is strong enough to sustain the toil of today.

As the music unfolds, the orchestration widens—the brass enters with dignity, and percussion adds a heartbeat. The dynamics swell: what began as a private reflection becomes a public declaration. The harmonies open into broad, major vistas, painting images of wide plains, distant mountains, and endless skies. This is the voice of the American Dream itself—a vision that what you plant here will grow, and that hard work and perseverance will yield not only survival, but abundance.

Notes on the Program

The clarinet returns in a gentler guise, no longer a solitary voice but part of a richer, established community. It offers a last, soft phrase, as if in benediction, and the strings breathe the final harmonies into stillness. This is the sound of generations maturing, traditions taking hold, and gratitude becoming a quiet daily ritual in the fabric of life. We are left with the image of a nation at rest—its people rooted in the soil they have chosen, its promise alive in every generation that dares to dream anew.

In the final moments, rhythmic energy gathers again. The pulse quickens, the brass lift their voices, and the percussion drives the music forward. This is not a march of conquest but of unity—the collective stride of a people embracing their future together. The climax, broad and luminous, feels like the sun at its zenith: all voices united, ringing with conviction and faith in the road ahead, exclaiming some of the most poignant words in the formation of the “American Promise:”

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty, and the Pursuit of Happiness.

250 Years of US: Many Voices, One Nation

On July 4, 2026, the United States celebrates 250 years since the signing of the Declaration of Independence. From Mississippi blues to New Orleans jazz to the emergence of a more ‘populist’ classical style, Americans have always sought to ponder and paint our history through music. This year, the National Symphony Orchestra (NSO) honors that legacy with a series of world-premiere commissions, each a contemporary reflection on the American experience.

American Mosaic

February 19–22, 2026

The NSO presents the world premiere of Peter Boyer and Joseph Sohm’s American Mosaic, an NSO co-commission featuring stunning video imagery, live narration, and American melodies led by Thomas Wilkins.

Shaham & Shaham play Reena Esmail | Robertson conducts Sibelius’ Fifth February 26–28, 2026

Visionary maestro David Robertson returns, as the world premiere of Kennedy Center Citizen Artist Fellow Reena Esmail’s Double Concerto puts star siblings Gil Shaham and Orli Shaham center stage.

Hahn & Woods play Carlos Simon | Brahms’ Third March 12–14, 2026

Superstar Hilary Hahn and Grammy®-nominated NSO newcomer Seth Parker Woods come together for the world premiere of Kennedy Center Composer-in-Residence Carlos Simon’s Double Concerto.

Cann plays Coleman

June 5 & 6, 2026

Pianist Michelle Cann returns to perform a world premiere by Valerie Coleman. Conductor Kellen Gray frames the evening with Dvořák’s American Suite and the Catfish Row suite from Gershwin’s Porgy and Bess

Meet the Artists

Enrico Lopez-Yañez, conductor

Enrico Lopez-Yañez is redefining what it means to be a conductor in the 21st century. Celebrated for his charismatic stage presence, genredefining collaborations, and passion for making orchestral music accessible to all, Lopez-Yañez is one of the most innovative and in-demand conductors in North America. He currently serves as Principal Pops Conductor of the Detroit and Pacific Symphonies, Principal Conductor of Dallas Symphony Presents, and Principal Guest Conductor of Pops at the Indianapolis Symphony Orchestra. He previously spent eight seasons conducting the Nashville Symphony, where he also served as their Principal Pops Conductor.

As a trailblazer in the symphonic world, LopezYañez has premiered dozens of groundbreaking symphonic collaborations with artists including Dolly Parton, Kelsea Ballerini, Portugal. The Man, The Mavericks, Tituss Burgess, and The War and Treaty. His wide-ranging collaborations span genres and generations, featuring artists such as Nas, Itzhak Perlman, Kenny Loggins, Stewart Copeland, Toby Keith, Richard Marx, Bernadette Peters, Leslie Odom Jr., Patti LaBelle, Gladys Knight, Ben Folds, The Beach Boys, Tower of Power, and Kenny G.

As a composer and arranger, Lopez-Yañez’s versatility is equally expansive. He has written for artists like Big Sean and Mariachi Los Camperos, and he has been commissioned by major orchestras including the Baltimore Symphony Orchestra, Cincinnati Pops Orchestra, Detroit Symphony Orchestra, Houston Symphony, Indianapolis Symphony Orchestra, San Diego Symphony, and many more.

In 2023, Lopez-Yañez was honored with the “Mexicanos Distinguidos” award by the Mexican government, recognizing outstanding career achievements by Mexican citizens abroad. A passionate advocate for Latin music, he has arranged and produced concerts featuring Latin Fire and The Three Mexican Tenors, and he has collaborated with Aida Cuevas, Arturo Sandoval, Lila Downs, and Lupita Infante.

Lopez-Yañez is also Artistic Director and CoFounder of Symphonica Productions, LLC, a creative production company developing innovative pops, family, and educational concerts for orchestras. His work as a producer,

composer, and arranger can be heard on numerous recordings, including the UNESCO benefit album Action Moves People United and award-winning children’s albums such as The Spaceship that Fell in My Backyard and Kokowanda Bay. His work has received honors from the John Lennon Songwriting Contest, Hollywood Music in Media Awards, Parents’ Choice Foundation, and Global Media Awards, where he was recognized for his “catchy arrangements.”

Karen LeFrak, composer

A native New Yorker, Karen LeFrak is a prolific and versatile composer and author whose vibrant, moving musical scores have been presented in prestigious concert halls around the world. Highlights of her career include 19 studio albums, which have garnered more than 50 million global streams, a catalog of over 300 works, and worldwide performances by prominent organizations, including the New York Philharmonic, National Symphony Orchestra, Shanghai Symphony Orchestra, San Francisco Ballet, and Mariinsky Ballet. She has also received accolades for her children’s books, which are published by Bloomsbury, Random House, and Crown.

Consolation, LeFrak’s latest recording, marks the 15th release in a series of highly successful solo piano albums, recorded by pianist Jorn Swart. Each album features 10 short, atmospheric piano pieces that have been included in hundreds of curated playlists on Spotify, Pandora, Apple Music, and other streaming services, yielding more than 50 million global streams. LeFrak has also recorded three notable albums of chamber music; new recording projects for chamber music, solo piano, and string ensemble are in place for 2026–27.

ROMÁNTICO, her first orchestral album, features the internationally acclaimed, Grammywinning guitar soloist Sharon Isbin, and conductor Enrico Lopez-Yañez leading New York City’s Orchestra of St. Luke’s. It was released on May 30, 2025. The centerpiece of the album is the “Miami Concerto for Guitar and Orchestra,” which evokes the city’s musical culture.

Highlights of LeFrak’s 2025–26 season include live performances of “Miami Concerto for Guitar and Orchestra” with Isbin, with the Indianapolis and Las Vegas Symphony Orchestras. A ballet performance of Windy Sands, featuring a group of her solo piano pieces, will be performed at the

Meet the Artists

Youth America Grand Prix Festival at the Koch Theatre in the spring.

American Promise, a new commission for full orchestra by the National Symphony Orchestra to commemorate the 250th anniversary of the signing of the Declaration of Independence, will be premiered February 13 and 14, 2026, in Washington, D.C. A performance by the Miami Symphony Orchestra follows in March, among others. LeFrak recorded the album American Promise with the London Symphony Orchestra at Abbey Road Studios, with conductor William Ross. Along with “American Promise,” the album includes its sister piece “Lady Liberty Suite” (“Arrival,” “The City,” and “A New Land”), and a work for solo clarinet and strings titled “Prairie Dawn.” The album will be released in March 2026.

Girl Named Tom

From a small-town minivan to sold-out theaters, Girl Named Tom’s rise has been nothing short of remarkable. Siblings Bekah, Caleb, and Joshua Liechty grew up making music together but officially formed their band in 2019, hitting the road with a self-funded tour and their debut EP, Another World. Their tight harmonies and heartfelt songwriting captivated audiences, leading them to make history as the first group to win The Voice.

Since then, the trio has sold over 100,000 tickets across 40 states; headlined nationwide tours; and performed at the Grand Ole Opry and the Indianapolis 500 as well as on The Ellen DeGeneres Show. They’ve shared the stage with the Nashville Symphony, Kelsea Ballerini, Lady A, and Pentatonix, but their signature sound remains unmistakably their own—fusing folk, pop, and sibling magic to create music that moves the soul.

Ryan Silverman, narrator

Noted for his performances, which “stand in memory” (The New York Times), multiple-time Drama Desk nominee Ryan Silverman has been praised as the “smoothest, most assured bari-tenor, leading-man theatre voice at the moment” (Playbill). Silverman received a Drama Desk nomination for Best Actor for the role of Terry Connor in Side Show on Broadway, and has starred as Raoul in The Phantom of the Opera and as Billy Flynn in Chicago. Silverman has also received Drama Desk and Drama League nominations for his performance as Giorgio in CSC’s 2013 production of Passion, which The New York Times praised for its “risktaking, unconditional emotional commitment.” Additionally, he has appeared as Sir Lancelot in Camelot at the Trump Kennedy Center, in the Théâtre du Châtelet’s acclaimed production of Passion opposite Natalie Dessay, as Tony in the Olivier-nominated 2008 West End production of West Side Story, and in the premiere of York Theatre’s new musical A Sign of the Times. Silverman recently starred in concert with West Side Story with the Philadelphia Orchestra, in The Golden Apple at New York City Center Encores!, and as Houdini in The Impossible Man at Italy's Teatro Sociale. He has made soloist appearances with the New York Pops, Seattle Symphony, Philly Pops, Cincinnati Pops Orchestra, Houston Symphony, the NHK Symphony Orchestra in Tokyo, the Cleveland Orchestra, Detroit Symphony Orchestra, Vancouver Symphony Orchestra, the Kaohsiung City Symphony Orchestra in Taiwan, and Edmonton Symphony Orchestra, among others. Other credits include Cry-Baby on Broadway, Finian’s Rainbow (Irish Repertory Theatre), and New York City Opera’s The Most Happy Fella. He recently made his debut at Paper Mill, starring in Ken Ludwig’s A Comedy of Tenors. Regional credits include Thoroughly Modern Millie (Jimmy), Cinderella (the Prince), Grease (Danny), Hello, Dolly! (Cornelius), Assassins (John Wilkes Booth), Sweeney Todd (Anthony), Forever Plaid (Smudge), and Blood Brothers (Eddie Lyons). Silverman has performed his club act at the Café Carlyle (month-long residency) and Feinstein’s at the Regency, as well as 54 Below with Melissa Errico. His television and film credits include Suits, The Good Fight, Gossip Girl, Five Minarets in New York,

Meet the Artists

Sex and the City 2, and True Blood. www.ryansilverman.com

Instagram: @ryansilverman

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, live-streamed 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.

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.

Suite

Multiple pieces intended to be performed together. Suites may take from larger works such as an opera or a ballet. For 17th- and 18th-century works, “suite” often refers to a sequence of dances in the same key.

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.

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.

Romantic music

Works associated with the 19th-century Romantic Period. Building off the intellectual innovation of the Romanticism movement, Romantic music emphasizes self-expression, emotion, and experimentation.

Tempo Markings

Largo - slow, broad

Adagio - slow, at ease

Andante - moderately slow, walking pace

Andantino - slightly faster than andante

Moderato - moderate

Allegretto - slightly slower than allegro

Allegro - fast, bright

Vivace - fast, lively

Presto - very fast

Prestissimo - rapidly

Additional Markings

Pochettino - very little

Poco - a little

Meno - less

Ma non troppo - but not too much

Più - more

Molto - very

Assai - very

Quasi - almost, as if Maestoso - majestically

Semplice - simply

Con fuoco - with fire

Mosso - with motion and speed

Tranquillo - peacefully

Misterioso - mysteriously

Ritenuto - abruptly slowed

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

Scott Bushnell, Senior Director, Creative and Brand Strategy

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

Ambassador Richard Grenell

President, John F. Kennedy Center for the Performing

President, The Trump Kennedy

President, John F. Kennedy Center for the Performing Arts

Chief Financial Officer

Ambassador Richard Grenell

Ambassador Richard Grenell Chief Financial Officer

Donna Arduin

Ambassador Richard Grenell Financial Officer

Donna Arduin

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

Berke

Senior Vice President, Development

Dale

Senior Vice President, Development

Vice President of Human

Senior Vice President, Marketing

Senior Vice President,

Dale

M. Bowens

Osborne

Senior Vice President, Marketing�� Robin Osborne

Senior Vice President, Special

Senior Vice President, Special Events

Donlon

Senior Vice President, Development Lisa Dale

Donlon

Vice President, Human

Vice President, Human Ta’Sha Bowens

Vice President, Public Relations Roma Daravi

Vice President, Operations

Executive Director, National Symphony Orchestra Jean Davidson

Vice President, Education

Vice President, Special Events

Bronagh Donlon

Vice President, Public Relations

Vice President, Public

Vice President, Public Relations

Vice President, Facilities Matt Floca

Chief Information Officer

Chief Information

Chief Information Officer

Vice President, Education Jordan LaSalle

Executive Director, National Symphony

Executive Director, National Symphony Orchestra

Executive Director, National

Executive Director, National Symphony

Chief Information Officer Bob Sellappan

General Director, Washington

General

General Director, Washington

General Director, Washington National

General Director, Washington

Concert Hall Staff

Theater Manager

Theater Manager Allen V. McCallum Jr.

Theater Manager

Allen V. McCallum Jr.

Theater Manager Allen V. McCallum Jr.

Allen V. McCallum Jr.

Box Office Treasurer

Deborah Glover

Box Office Treasurer Deborah Glover

Deborah Glover

Box Office Treasurer Deborah Glover

Box Office Treasurer

Head Usher

Head Usher Cathy Crocker

Head Usher

Head Usher Cathy Crocker

Stage Crew

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 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 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, 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.

Orchestrated Lives

Each month, the National Symphony Orchestra (NSO) spotlights a different staff member. For this program, bass player Charles Nilles discusses Bassgiving, bassist stereotypes, and the true meaning of bass face.

Name: Charles Nilles

Hometown: Chicago, Illinois

Instrument: Bass

Years with the NSO: 15

Is there a stereotypical bassist personality, and, if so, do you think you fit it? I think so. I think our whole bass section fits that personality. Bass players tend to be pretty laid back and silly, and our section in particular gets along so well. That dynamic goes beyond a performance or a rehearsal day—we’ve got this awesome text thread, we have bass hangs…. We actually started this thing called Bassgiving. There’s always a Pops concert the day after Thanksgiving, and we’ll bring a big plate of leftovers and a bottle of something and have a potluck between the rehearsal and the concert. Anyone’s invited.

Would you say the bass section has the most fun? Well, we’re kind of sitting in the back of the bus. Where the violins are in a long row, spread out across the stage, we’re just in this blob in the back. That allows us to get away with more than people may realize: there’s some of us that will provide a little more commentary under our breath throughout the happenings of rehearsal. You’ll see someone giggling silently—“shoulder wiggles,” we call it. And whenever the bass players have stuff on the low extension (an added mechanism for playing lower notes), the trombone players will look over like prairie dogs, and we’ll make faces back. We have some inter-section shenanigans.

In your own words, what is bass face? Bass face is an angry yet satisfied acknowledgement of what is going on—disgusted, but nodding in approval. It usually happens when we’re playing a famous bass lick or something very loud. Jauvon Gilliam, our principal timpani, and I share a mutual timpani-bass face; oftentimes, there are unison timpani and double bass parts, like in a Bruckner symphony. Even in the concerts, when we’re done playing, Jauvon and I will look at each other and flex the guns—give our biceps a kiss.

What’s one favorite backstage memory at the NSO? My kids adore our stage door security gal, Ms. B. She’s always like, “Where are my babies at?” Once, when we were working with the children’s book author Mo Willems, I was backstage with my son Steven. Mo saw me with my son, and he’s such a nice, approachable guy, so we stopped. I said, “Steven, this is Mo Willems. He drew and wrote the Elephant & Piggie books.” Steven was holding my hand, and he looked at Mo, then he looked at me, and he said, “Can we go see Ms. B now?”

What’s your favorite part of your life outside of the NSO? My family, first of all. I’m lucky that we work lots of nights and weekends, so I have a lot of daytime availability. I like camping, hiking, biking, target sports—outside stuff. I just started winter league trap and skeet, and I’ve been doing compound archery for over a decade now. I like to hunt and grow my own food; I haven’t bought four-legged animal meat more than a handful of times in the last five years. A sub-hobby from that is sausage-making—that’s a worldwide culture in itself.

If you could say one thing to NSO audiences, what would it be? Watch the bass section, and you’ll see how much fun we’re having. And thank you. Because you’re all here, I’m allowed to have my dream job.

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 Kennedy Center Board of Trustees

National Symphony Orchestra Board of Directors

Washington National Opera Board of Trustees

The Kennedy Center President’s Council

The 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 Kennedy Center Circles Board

The Kennedy Center Community Advisory Board

The Kennedy Center Corporate Fund Board

The 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

More Concerts this Season!

Philharmonia Fantastique: The Making of an 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. Most enjoyed by ages 5+.

March 29, 2026 at 2 p.m.

Hisaishi conducts Hisaishi

Joe Hisaishi, renowned for his sensitive compositions including Hayao Miyazaki’s fantastical Studio Ghibli animations, conducts the world premiere of his Concerto for Orchestra—an NSO commission, music from The Boy and the Heron, and more! Please note: this concert is presented without film.

May 14, 2026 at 8 p.m.

May 15, 2026 at 8 p.m.

May 16, 2026 at 8 p.m.

Top Gun: Maverick in Concert

Watch the Academy Award–winning blockbuster on the big screen with Lorne Balfe, Harold Faltermeyer, Lady Gaga, and Hans Zimmer’s epic score performed live-to-picture! 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.

Rated PG-13

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

2025–2026 CLASSICAL SEASON PERFORMANCE CALENDAR

American Mosaic

Thu., Feb. 19, 2026 at 7 p.m.

Sat., Feb. 21, 2026 at 8 p.m.

Sun., Feb. 22, 2026 at 3 p.m.

Shaham & Shaham play Reena Esmail

Robertson conducts Sibelius’ Fifth

Thu., Feb. 26, 2026 at 7 p.m.

Fri., Feb. 27, 2026 at 11:30 a.m.

Sat., Feb. 28, 2026 at 8 p.m.

Winter Daydreams: Noseda conducts Tchaikovsky’s First Trpčeski plays Saint-Saëns

Fri., Mar. 6 at 11:30 a.m.

Sat., Mar. 7 at 8 p.m.

Hahn & Woods play

Carlos Simon

Brahms’ Third

Thu., Mar. 12, 2026 at 7 p.m.

Fri., Mar. 13, 2026 at 8 p.m.

Sat., Mar. 14, 2026 at 8 p.m.

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.

A look back at our history

1939

NSO Music Director Hans Kindler leads the Orchestra in a summer outdoor concert on a floating barge anchored at the foot of the stone steps below the Lincoln Memorial.

Harris & Ewing Collection, Library of Congress

A look back at our history

1958

Music Director Howard Mitchell conducts the NSO at Constitution Hall. Photographer unknown, Courtesy of the Kennedy Center Archives

1970s A look back at our history

NSO Music Director Antal Doráti conducts the NSO.

Photo by Richard Braaten, Courtesy of the Kennedy Center Archives

A look back at our history

1987

NSO Music Director Mstislav Rostropovich conducts the NSO with guest soloist soprano Galina Vishnevskaya, his wife.

Photo by Joan Marcus, Courtesy of the Kennedy Center Archives

A look back at our history

1996

Music man Bobby McFerrin wowed Washingtonians when he conducted the National Symphony Orchestra concerts for families and school children.

Photo by Carol Pratt, Courtesy of the Kennedy Center Archives

2000 A look back at our history

Pianists John Browning, Sara Davis Buechner, Brian Ganz, Joseph Kalichstein, Lambert Orkis, and Jeffrey Siegel play Franz Liszt’s Hexameron with the National Symphony Orchestra conducted by Music Director Leonard Slatkin for the Piano 2000 festival.

Photo by Carol Pratt, Courtesy of the Kennedy Center Archives

2015 A look back at our history

Kendrick Lamar and the NSO led by Principal Pops Conductor Steven Reineke delivered a one-night-only performance featuring some of Lamar’s biggest hits and the first-ever live performances of music from his lyrical masterpiece “To Pimp a Butterfly.”

Photo by Elman Studio, Courtesy of the Kennedy Center Archives

2022 A look back at our history

As the concluding event of Kennedy Center’s 50th Anniversary celebration, Leonard Bernstein’s MASS returned 51 years after its world premiere at the Center in a dynamic staging featuring the NSO, guest conductor James Gaffigan, and baritone Will Liverman in the role of Celebrant.

Photo by Scott Suchman, Courtesy of the Kennedy Center Archives

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.