UNITED NATIONS NATIONS UNIES
POSTAL ADDRESS ADRESSC POSTALE- UNITED NATIONS, N.V. IOO17
CABLE AODHE» ADREME TEUEGRAPHIQUE: UNATIONS NEWVORK
EXECUTIVE OFFICE OF THE SECRETARY-GENERAL
CABINET OU SECRETAIRE GENERAL Rro. S-3840A -- Tel. (212) 963-5495 - FAX (212) 963-1185
8 July 1998
Dear Ms. Bumbry,
I want to thank you for your recent visit to the United Nations and your generous interest hi holding a concert here. We were honoured by your visit. Although matters of timing, financing and limits to the stage pose difficult obstacles for a performance this fall, be assured that we are interested and hope we may continue to explore the possibility, perhaps for 1999. Let us continue the conversation.
I wish you a good summer and again, send sincere thanks for your interest and support.
With highest regards.
fours sincerely,
Gillian Martin Sorensen Assistant Secretary-General for External Relations
Ms. Grace Bumbry Honorary Ambassador of UNESCO Villa Arasio 6926 Montagnola Switzerland I I K < \ < 5 o u i en
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H.E. Mr. Kofi Annan S ecretary-General UNITED NATIONS Room 8300 New York, NY 10017 May 7, 1998
Dear Secretary-General,
Please allow me to introduce myself. You might_be already familiar with my name since you have beernn New York many years with trie UNITED fi^IQNSjQrganizatiQn during some ofTfieTtime jhat_!_was performing at the Metropolitan Opera. I shall be enclosing a brochure to refresh your memory.
I have in the meantime cut back a lot on my operatic activities and have established THE GRACE BUMBRYBLACKMUSICAL HEjUTAGEENSEMBLE, anon-tor proiftOTga'ttizaUoiTsO l C 3, which made it's world premiere at the 75th Salzburg Festival opening in 1995. This was followed by an equally successful US premiere in Carnegie Hall on February 16, 1996. The Ensemble concluded a sold-out tour often German cities and has appeared successfully at other US-venues. The Ensemble is now widening its areas of exposure in collaborating with the National Park Service^ and Kennedy Center in a RACIAL HARMONY GALA which is to take^lace^on^ctober 18, 1998 at the John F. Kennedy Center for the:.^rf^nrjmg^AJt:sJn_WajMngtonJPC. The concert is to celebrate and commemorate the efforts_ ofthose; whoi joughj^enormpus.odds fpjjhe freedorn of the slaves; Africans, African Americans, Native Americans, Quakers as well as those courageous whites who defied the authorities in helping to bring about the freedom of so many unfortunate souls. This Gala concert is to attract media and public attention to that important period in American history and the role that the Spiritual played in it.
You will find also enclosed the original FAX from UNESCO Director-General Federicp Mayor of June 10, 1997 wherein he appointed me as UNESCO'"Special Adyispr for the SLAVEROUTE Project. Our original idea was to launch this project with a Gala concert in Goree, Senegal, in ^ebnaary of 1998, but after careful consideration with the Secretary of the Interior, The Honorable Bruce Babbit, a decision was made to shift the launching to Washington DC (see end.). The final concert should tak^lac^j.tthe_General Assembly in New York and I would very much wish to discuss thisTpoint
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Ms '. ?r ite Biirnbr United States Department of the Interior
NATIONAL PARK. SEXVKZ
20840 JAN 9 1998
To Whom It May C
The National Park Service is developing an Underground Railroad educational program That wiH celebrate, y* commemorate the significance of tins powerful event in Amedcsa Histoiy . In sddilim to developing piictcd ft'trffp""^ matfn^\Kr and ag histDric places assodattd wilt the UndcxgioandRaiItoad,tbe National Pack info 'i"npenf*i«f i»greemgiH?i uiyl^i grtwe-rmnenial and to pronsjte and iot^ipret its importance in the evolution, of the national civil rights xoovt Specifically, it is the intention of the National Park Service to enter into a collaborative p*latio Featuring Ms, Bmntay and nucoerous other iotematjonally amlaimed, musical arusta, tins »t?*aMa^ pnbKe gaimpneng qnij TTnA-T^nvtirtg fif tty- tr»|ft ftp Underground RaSzoad played in this conntcy'sl9ih century quest for basic banana^ civil Thank y ou for your itttgcst in this vay important progr Sincerely, obert Stanion Director THE GRACE BUMBRY BLACK MUSICAL HERITAGE ENSEMBLE World Premiere took place in Salzburg. Austria, on the eve of the 1995 Festival Opening on July 22nd, 1995. Festival Director Gerard Mortier had invited GRACE BUMBRY and her Ensemble - which he had not yet heard - solely relying on GRACE BUMBRY's reputation. His instinct proved correct: the evening was an astounding success as can be gathered from the excerpts quoted below. "SALZBURGER VOLKSZEI7UNG" (daily, circulation 300.000, nationwide): ",..and even more vital was the GOSPEL presentation during the second part of the programme. Profound basses, shimmering sopranos... the swaying "Thank you, Jesus", the overwhelming ''Amen" and several encores turned the audiences jubilant and cheering.,. GRACE BUMBRY, the unforgotten Lady Macbeth, Carmen and Lieder- Singer of the Salzburg Festival, was rightfully celebrated this evening.,." "SALZBURGER NACHRICHTEN" (daily, circulation 650.000, nationwide): "... GRACE BUMBRY ... is not only patron and music-coordinator of her Ensemble - which by presenting GOSPEL and SPIRITUAL impressively is upholding the origin of African American music and with this service to the precious heritage presents an attractive and distinguished entertainment ... a joyful experience which causetl the audience in Salzburg's revered temple of culture to be moved to rhythmic applause..." ACCOLADES CONTINUED THROUGHOUT THE ENTIRE GERMAN TOUR: "DAS OPERNGLAS", February 1996 (opera monthly,nationwide in Germany, Austria and Switzerland, 320.000 subscribers) "...GRACE BUMBRY ... is the first Black Diva in opera history, who has tafcen upon herself to introduce European music lovers to the origin of African-American musical tradition. What a crowning glory to her international career..." "MADAME", February 1996 (monthly, nationwide in G, A + CH, 600.000 circulation): "GRACE BUMBRY was the Black Venus of the Bayreuth Festival and she still reigns supreme-on the great operatic stages of this world. Her Tosca, Turandot or Eboli remain unforgettable highlights, but she has "the black musical heritage" in her blood and now formed The Ensemble, which, after a triumphant Premiere in Salzburg, will now tour Germany..." "DER SPIEGEL", EXTRA-Coverstory February 1996 (340.000 subscribers in D, A + CH): "Soprano & Soul: GRACE BUMBRY as Gospel star. The Grace BUmbry Black Musical Heritage Ensemble is - as the impressive name already indicates - an idea arid project of AMAZING GRACE BUMBRY...-i- "DAS SONNTAGSBLAIT" 2/23, 1996 (Hamburg weekly, 350.000 circulation): "GRACE BUMBRY - the Black Diva. As opera singer she enjoyed a triumphant career on opera stages worldwide. Now she brings to life the world of Spiritual and Gospel... "BERLINER ZEITUNG", 2/29/95 (Berlin daily, 600.000 circulation): "... a great star of opera has changed roles. The soprano GRACE BUMBPY has achieved everything that makes a "star". When visiting the Philharmonic last Tuesday, she presented the music of her homeland and the history of her people..." THE GRACE BUMBRY BLACK MUSICAL HERITAGE ENSEMBLE . Villa Arasio . CH-6926 Montagnola, Switzerland . T: 41-91-994 8619 . FAX: 41-91-994 9443 MISSION OF THE ENSEMBLE At a time when many cultural institutions are being neglected if not lost, THE GRACE BUMBRY BLACK MUSICLA HERITAGE ENSEMBLE aims to preserve and present the tradition of the spiritual, an African-American musical genre which has occupied an important place in the history of music in this country and which has been a major ingredient in the rich mix that we call American culture. Over the years, composers from Mendelssohn to Debussy have lauded the spiritual. In 1893 the Czech composer Anton Dvorak suggested that the inspiration for a truly national American music might be found in African-American melodies or native American chants. A generation later, the English composer Frederick Delius arrived at a similar conclusion while living in Florida. Both of these European composers were somewhat prescient in their observations, as 20th Century developments in music have shown. This phenomenally rich body of African-American sacred music once occupied a central place in African-American society. Serving as songs of worship; spirituals also spoke - through double meanings - to the needs of slaves seeking freedom. This music and the African music that went before it had more than simply a passing social importanc.e It was an integral part of society, and it addressed matters of deep concern to its community. The music celebrated by the Ensemble comes from the heart of African-American life. Today, however, this extraordinary music of a people is suffering from neglect in many quarters, often replaced by the more popular gospel music. Spirituals do appear with some frequency in churches and concert halls, but the role accorded to them has diminished considerably over the years. At the present time, the tradition survives more through recordings tnan through live performances. THE GRACE BUMBRY SLACK MUSICAL HERITAGE ENSEMBLE was formed to bring this important musical and cultural tradition back to life through live performances and workshops. Younger generations especially can benefit enormously from such an experience, for unfamiliar as they are with this music, experiencing it can have a most dramatic and far-reaching impact Outside the United States, the spiritual has certainly found an audience in the past and continues to do so today. There ere msuic-historians in other countries who have considerable knowledge of this music and its importance. Yet here, too, efforts need to be made to further expand the audience and correct misunderstandings and confusions where the spiritual is concerned. In some European quarters, for example, blues, jazz, spirituals and gospel are viewed as one and the same. Even given their interdependences, such misconceptions need to be corrected. Thus, with concerts given in a number of major European venues, the Ensemble aims to bring a new appreciation of the spiritual tradition to the novice as well as the existing audience, The Ensemble wants to repeat the success of the European Tours durinq the 19th Century by the history Spiritual choruses like THE FISK JUBILEE 5INGERS (Queen Victoria's favorites) or THE HAMPTON INSTITUTE SINGERS, who created enthusiasm and much interest in the Spiritual then. The Ensemble traces, through dance, traditional drums and vocally the evolution of the spHtiual from African melodies to gospel, both traditional and modern. Senegalese ENSEMBLE INFORMATION Grace Bumbry had been dreaming of establishing this Ensemble for many years. After auditions in Missouri, Mississippi, Illinois, Florida, Texas and New York of more than 400 finalists Grace Bumbry chose 28 singers who are now forming THE GRACE BUMBRY BLACK MUSICAL HERITAGE ENSEMBLE. A large group of singers hails from Jackson, Mississippi (primarily they sing in local church and college choirs). The other group, mainly New York-based, consists of many professional opera singers who are now proud to present "black music" with this Ensemble. After the World Premiere in Salzburg 1995, Grace Bumbry added dancers and drummers from Senegal, West Africa, for the Ensemble's US Premiere at New York's Carnegie hall during "Black History Month 1996". These talented and highly motivated ("if our ancestors could see and hear us now") singers, dancers and drummers have in the meantime coalesced into the family of which Grace Bumbry always dreamed. She wanted an Ensemble that would reflect the way she feels about this music. From the depth of this emotion the programme of THE GRACE BUMBRY BLACK MUSICAL HERITAGE ENSEMBLE turns into much more than obviously fabulous and triumphant entertainment. It is a performance on the highest emotional and spiritual level. The producer of the CBS-Special "Amazing Grace", which was broadcast nationwide on November 5, 1995, obviously also was very moved by this intensity and surprises the viewers with the historic fact, that it was during Mozart's time that Spirituals were first sung by African Slaves in America. The Salzburg triumph was repeated at Carnegie Hall on February 16, 1996. The Ensemble then embarked on a 10-city tour of Germany (2/26 - 3/8/96) that again proved an enormous success. Subsequent Ensemble performances took place in St. Louis and New Orleans and invitations by acclaimed Music Festivals in Europe are pouring in for 1998 dates. CONTACT: THE GRACE BUMBRY BLACK MUSICAL HERITAGE ENSEMBLE . Villa Arasio CH-6926 Montagnola, Switzerland . T: 011-41-9f-994 8619 . FAX: -994 9443