Theater Chamber Players records
- Theater Chamber Players (Organization)
Conditions Governing Access
Conditions Governing Use
Some scores from this collection may circulate to Johns Hopkins University borrowers.
66.5 Cubic Feet (66 boxes and 30 map-case drawers)
Biographical / Historical
Koston and Fleisher also wanted to use the TCP as a vehicle for demonstrating that there is more to chamber music than string trios and quartets. They featured chamber ensemble pieces that included winds, percussion, and voice. To these ends, TCP commissioned, premiered, and introduced audiences to many contemporary composers.
The TCP began performing at the Washington Theater Club in 1968, and in 1974 it became the Smithsonian’s first resident chamber ensemble. In 1977 it was the first group to be named “resident ensemble” at the new Terrace Theater in Washington’s Kennedy Center. The group also performed in Baltimore, New York, San Francisco, and Philadelphia, and was broadcast by National Public Radio and CBS Television. The ensemble disbanded in 2003.
The Theater Chamber Players had a strong connection to the Peabody Conservatory faculty. In addition to long-time faculty member Leon Fleisher, who co-directed the ensemble, conducted, and sometimes performed as a pianist, soprano Phyllis Bryn-Julson performed with the group and served on its board of directors, and co-founder and co-director Dina Koston taught at the Conservatory for a time. Other Peabody faculty who performed with TCP include Laurence Lesser, Ellen Mack, Berl Senofsky, Donald Sutherland, and Karen Tuttle. Peabody Conservatory alumni, including Patricia Green, Hyo Kang, Kim Kashkashian, Sharon Robinson, David Starobin, Jeanette Walters, and Andre Watts, also appeared with the TCP.
Scope and Contents
Series 1 contains documents related to the founding of TCP and its players. Included are basic administrative papers, biographies of players/musicians, and the papers of Dina Koston. Series 2 contains the business records of TCP. These include meeting minutes, fundraising material, grant applications, tax records, musician contracts, licensing agreements, and outreach material. Series 3 contains information about various composers. Included are concert programs and correspondence. Series 4 contains correspondence from composers, members of TCP, and the general public.
Series 5 includes concert programs and working documents related to the planning of each concert. Series 6 contains TCP publicity material, including brochure drafts, clippings, press releases, advertisements, and correspondence relating to PR. Series 7 contains concert programs and loose publications related to TCP performances from 1968 to 2004. Series 8 includes newspaper reviews and other press about TCP performances from 1968 to 1986. Series 9 contains print photographs of TCP members, performances, rehearsals, and travel.
Series 10 contains various recordings of TCP performances between 1960 and 2003. The formats include reel-to-reel tape, audiocassette, CD-ROM, DAT (digital audio tape), and Betavideo. Series 11 includes published and photocopied scores that have been annotated by TCP musicians for performances. Series 12 includes reference publications related to music and performance, including music catalogs and newsletters from publishers.