Music Educators Association of New Jersey
Serving teachers and students since 1927

MEA Presents...Young Artist Master Class

with Enrique Graf

From left: Candence Ko, Nancy Modell, Ella Zhang, Enrique Graf, Ana Berschadsky, Kyle Zhu and Dr. Julia Lam. The three performers received the coveted Adell Williams Certificates, named in honor of Ms. Williams, a former president of MEA-NJ and chair of what evolved into the Young Artist Master Class Program.

June 11, 2026, Madison Public Library, Madison, NJ

International pianist Enrique Graf gave a superb master class emphasizing rhythm, technique and posture at the piano. Born in Uruguay, he graduated from the Peabody Conservatory in Baltimore, where he studied with Leon Fleisher. He has won numerous awards and competitions, and has performed in solo recitals, festivals, with chamber groups and with orchestras worldwide. Mr. Graf has taught master classes around the globe and in the U.S. at Carnegie-Mellon, Yale, Peabody, Oberlin, Boston and Eastman conservatories.

Ella Zhang, student of Nancy Modell, began the class with Milonga del Angel by Piazzolla. Mr. Graf noted that this type of dance, related to the tango, should be played faster so one can dance to it. Rhythm is everything in this piece, more so than the quality of the sound. Give the dance more Spanish flair! And more bass! The pinkie on the right hand should be played flatter so it can play stronger and hold the melody; play with the pad of the finger rather than the tip. To strengthen the No. 5 finger, slide all five fingers on the black keys so they all lay flat and you can see a knuckle. Lower the wrist if necessary.

In contrast to the Milonga, Silver Clouds Chasing the Moon by Red Guang was a beautiful, ethereal piece in Ella’s hands. You could hear the silvery threads amidst the Chinese rhythms. Mr. Graf suggested counting first before you begin to determine the tempo. Then stay in that time. Play the wavy arpeggiated chords so you can hear the top note as well as the first note. The upper notes decay quickly, so you want to keep the fingers down longer. When you listen to recordings, as Ella does, listen to how other artists interpret a piece and make it your own, rather than trying to copy what you hear.

Cadence Ko, student of Ana Berschadsky, played two challenging Argentine dances, both by Ginastera. The first was #2 Danza de la Moza Donosa (Dance of the Beautiful Maiden). and #3 Danza del Gaucho Matrero. Both are country dances and, again, rhythm is everything. The gaucho piece was very fast, energetic with lots of pattern play and gusto. You need to feel the 6/8 rhythm right away, Mr. Graf recommended. In terms of the melodic line, the dolcemento espressivo could be more singing (cantando). Make the thirds in the melody more legato and softer. You want to make sure the dynamic contrasts are distinct — the pp should be very quiet and the ff very strong. Lastly, always sit up straight because posture is so important in connecting with the music and the instrument.

Kyle Zhu, student of Dr. Julia Lam, changed the pace entirely with his interpretation of Chopin’s Ballade No. 3 in A flat major. Kyle has great command of the piano and performed very expressively. His fingers positively danced on the keys. Mr. Graf suggested that here the tempo changes should be more subtle. Also, where Chopin adds more notes to a measure, play them with one hand to shape the phrase; avoid using two hands so it sounds like a scale (m. 14).

Chopin played on a totally different type of piano and was slight in stature (and often in ill-health), so his pieces should sound gentler and more elegant. In m. 25, for example, keep the music softer. The crescendo should be gradual rather than instant. Guard against too much fortissimo. In the really high octaves, hold the notes down longer to maintain the sound. Toward the end (m. 157), the left hand should have more feeling and texture. If you play the LH alone, you’ll see it needs shaping. Save the stretto for the end and perhaps use more pedal. Throughout any performance, your feet should be solid on the floor. Position the left foot more forward for better balance, not back so much toward the bench.

This master class, undoubtedly, was a wonderful learning experience for the audience as well as the performers. We thank Enrique Graf for sharing his insights with us!

Charlene Step, writer and photographer
Sophia Agranovic, Program Committee Chair 
Lisa Villamaria Casia, Auditions Director and Master Class Coordinator