Holding the banner high ... and passing it on: Margo Garrett, professional accompanist.(2009 Conference Artist)(Interview)

The MTNA National Conference in Atlanta this spring will feature renowned pianist Margo Garrett in concert with acclaimed tenor Anthony Dean Griffey. This is a concert not to be missed! Margo Garrett is recognized as one of America's most respected and admired pianists. Her stunning career has included performances with such artists as clarinetist David Shifrin, violinist Jaime Laredo, cellist Andres Diaz, sopranos Dawn Upshaw and Kathleen Battle. Ms. Garrett can also be heard on numerous recordings including the Grammy award-winning Deutsche Grammophon disc of Kathleen Battle's Carnegie Hall debut recital, the first recital in celebration of the hall's centennial. Her passion for collaborative pianism began before college and since then she has traveled the world playing concerts, coaching, giving master classes and "holding the banner high" for the growing field of professional accompanists.

Former student Jeffrey Gilliam said this about her: "There's something about Margo Garrett that makes you want to do your best and play your best the moment she walks into the room. She is fearlessly creative in situations where others might buckle under performance stress. In rehearsal, she asks many questions about what she can do to make her partner feel more comfortable. She conveys immense stylistic authority and yet she remains somehow egoless in the process."

I spoke with Margo recently, and in a fascinating conversation she talked about her life as a pianist, experiences with artists and students and her memorable time studying with Samuel Sanders. Her initial exposure to the field of accompanying as a profession was during her senior year of high school when she played for several singers in a master class for Austrian pianist Paul Ulanovsky. Margo recounted that important turning point:

"After the class was over, I introduced myself to him, thanked him and told him how much the class had meant to me. Until that day, I did not know there was such a thing as a professional accompanist. I thought that all pianists were prevailed upon by friends and colleagues every now and then to come down from the ivory halls of their solo repertoire and 'slum it' enough to go play a recital with a singer or string player. I thought everybody who played the piano had to accompany and that it was a natural part of being a pianist. Because of Paul Ulanovsky's mesmerizing presence in this master class I came to realize that this is the 'real thing,' and my interest in pursuing this for myself was awakened! I spoke to Mr. Ulanovsky after the class, and he said, 'You my dear have the makings of a very fine accompanist. It's just too bad that you're a woman.' Even with that remark I was undaunted. I did not 'hear' what that meant for many years. I went immediately to the dean of the music school at North Carolina School of the Arts, Louis Mennini, and he said, 'My dear if this is where your heart is, I can see it, because I know you, and if that's what you want to do, then we'll find a way for you to do it!' So the NCSA did find a way, and subsequently I took courses on every instrument I could, played for the chorus and opera, singers and instrumentalists, and it was exactly what I needed to do. Yes, there was sexism in the remark Mr. Ulanovsky had made to me, and while I had heard the words I refused to hear the message."

Toward the end of her studies at NCSA Margo was still not sure of her professional direction when she had another important conversation. In her words she recounts what led to her life-changing experience as a student of Samuel Sanders:

"I was a student at the North Carolina School of the Arts, as oblivious as any college senior, and not really thinking about the future. One day, Irving Klein, the wonderful cellist asked me, 'What are you going to do next year?' I said, 'What do you mean? I really don't know.' He responded by saying 'You must study with Samuel Sanders.' It turned out that Mr. Sanders was playing a recital nearby that month, (for the great cellist Leonard Rose) and Mr. Klein took me to hear the concert. I met Sam after the concert, was very taken with his playing and immediately made plans to study with him at Juilliard. Looking back I didn't even do any research on him, yet I knew he was the teacher for me! Samuel Sanders became my teacher and mentor in the sense that I never was "hungry" in my career because I didn't know enough to be that. I've always been passionate about the music making, but I was initially very naive about how to develop a career. Sam mentored me even when he didn't intend to do so, through his own life struggles, his approach to music and his incredible dedication. Sam was born with a congenital heart condition that required several major surgeries throughout his life, including two heart transplants. Despite these significant health difficulties Sam wanted to play the piano, sometimes at great risk and always against great odds. I observed great determination in Sam, his passion for people, humor, practicing and devotion to his colleagues. Sometimes my lessons from him were about learning what I myself should not do. Sam would practice at 2:00 or 3:00 A.M., and I learned later that was a personality type, and not necessarily the right way for me to approach my own work! Sam was an extraordinary person and would sometimes call me at 1:00 or 2:00 A.M. and say, 'You aren't asleep are you?' At that time I thought perhaps I shouldn't be asleep ... that I should be practicing like he was! I tried to emulate him, and it wasn't until later that I learned not everyone practiced in the middle of the night!

"Ultimately the challenge for me was to grow as an individual artist, and figure out what I needed to do and what methods I would use to be successful. Sam taught me a tremendous amount ... whether he was aware of those invaluable lessons outside the studio or not. The most important thing Sam did for me above all is that he told me, 'You can have a career.' I never would have asserted myself enough to have a career, but as I watched this man whose passion was total, possessing an energy that I often did not have, he truly made me believe in myself. That made it all possible. I don't think I would have had the nerve to approach the many things he insisted upon without his guidance, encouragement and unwavering belief in me. He recommended me to artists, and I really got my professional start through those initial introductions. If someone believes you are worthy, you find yourself working harder to become exactly that! Samuel Sanders made it all happen for me."