Picture a 21-year-old pianist, her fingers flowing over the keys with the precision of a seasoned acrobat. Eyes shut, she is fully immersed in the enchanting world of melody and harmony. This is Rae Pung, once celebrated as a child prodigy in the bustling city of Singapore, now continues to mesmerize audiences with her extraordinary talent.
With training from renowned pedagogues such as Ingrid Fliter, Stanislav Ioudenitch and Andrzej Jasinski, Rae’s artistry is the result of years of dedication and mentorship at prestigious institutions like Oberlin Conservatory, Fondazione Accademia Internazionale di Imola, and The Purcell School. Her performances go beyond mere recitals; they are transformative experiences that sweep listeners into a world of pure sonic ecstasy. Whether weaving the delicate whispers of a nocturne or commanding the thunderous crescendos of a concerto, Rae Pung’s playing is a powerful testament to the piano’s unmatched beauty and emotional depth.
Recently, she released her debut album, Piano Sonatas, which has been featured on Spotify’s “Classical New Releases” playlist, marking a major milestone in her already impressive career. Discover the artistry of Rae Pung as we explore her inspiring journey, groundbreaking achievements, and bold vision for the future of classical music.
Your journey as a classical pianist started at a young age. Could you share some pivotal moments or influences in your life that have shaped your path and artistic development?
A significant influence in my childhood was one of my earliest piano teachers, Thomas Hecht, the Head of Keyboard Studies at our local conservatory in Singapore. He generously agreed to teach me when I was just four years old, laying a strong technical and musical foundation for me. I was able to meet him thanks to my parents, who have always supported me in our shared goal of becoming a better musician. My mother, Siew Hui Gan, is a piano teacher who pursued her musical studies in Australia and has been my biggest supporter.
One of the defining musical moments in my youth was performing at ChildAid Singapore and ChildAid Tokyo, a charity concert series organized by The Straits Times and The Business Times. At just ten years old, this was my first large-scale event, where I performed Mozart’s Concerto for Two Pianos, K.365, with the Orchestra of the Music Makers in Singapore. The friendships I formed with two other young instrumentalists during this time led us to create the “Inspiring Trio.” We spent the following years performing across Singapore and Malaysia for various causes, including the commemoration of Singapore’s first UNESCO World Heritage Site and a fundraising concert for the Perak Community Specialist Hospital.
Your debut album, Piano Sonatas, is a significant milestone. What inspired you to choose these specific sonatas and composers, and why do you think they remained unrecorded by a Singaporean pianist until now? What significance does this hold for you personally and for the classical music scene in Singapore?
From the outset, I aimed to create a cohesive theme for the album, which led me to select three piano sonatas from different composers and styles. Of these three pieces, Medtner’s Sonata Tragica is the only single-movement work and the shortest. However, I chose to include this particular sonata because of my deep love for the piece. It showcases beautiful harmonies and a majestic, all-encompassing musical structure that binds the work together. I chose the Schumann sonata for this album after hearing several of my studio mates at Oberlin perform it, which inspired me to explore more of Schumann’s repertoire, such as the Fantasie in C, Op. 17. Lastly, I included the Beethoven sonata to provide a contrasting brightness to the minor tonality of the other pieces, enhancing the album’s variety of colors.
Singapore has a wealth of musical talent, but our classical music scene is still young and growing. In my opinion, it can be difficult for Singaporean pianists to imagine themselves releasing a professional album. Even my parents, who have always enthusiastically supported my musical projects, were surprised by the ambition and effort required to complete this album. Currently, only a handful of classical piano albums have been released by Singaporeans. I hope to show the potential contributions Singaporean pianists can make to the international classical music scene. I worked on this project with an amazing team, and the time and dedication they put in for my sake have given this album even greater personal significance.
Beyond the unrecorded nature of the pieces, how has your Singaporean heritage influenced your interpretation and performance of these sonatas?
In Singapore, we have a word in the local dialect called “kiasu.” This term is a big part of our culture and exemplifies a competitive spirit that drives individuals to strive for excellence. When life placed obstacles in my path, this essential aspect of our national identity kept me going. For me, the “kiasu” spirit has been crucial to my success in this career, and it’s what motivates me in the practice room, the recording studio, and on stage. Recording can be a repetitive and challenging process, but this determination helped me continually refine my interpretation of these pieces and deliver my best performance on this album.
The recording process often involves a deep connection between the artist and their instrument. Could you describe your relationship with your piano and how it influences your performances, especially during the recording of Piano Sonatas?
At home, I have a beautiful grand piano that I’ve practiced on for over a decade. We’ve maintained it meticulously, and visiting pianists often comment on the quality of the instrument. While at Oberlin, I formed a strong attachment to a specific practice room piano. I would wake up early to secure that room and stay there until midnight when the building closed. That practice room became my second home, and I grew to consider that piano as my instrument. Now, living in Italy, I have a smaller but satisfactory piano in my apartment, along with access to practice hours at my school.
That said, a pianist cannot rely too much on a connection with just one instrument. Unlike most other musicians, we face the challenge of adjusting to a new piano on almost every stage. When traveling, I often have to practice on instruments in suboptimal condition. On stage, it’s crucial to actively listen to the sound being produced and make continuous adjustments. Many factors influence how sound travels in a space—the instrument itself is only one part of the equation. The acoustics of the hall, the size and attention of the audience, and the repertoire all play equally important roles in the overall quality of a performance.
I was fortunate to record on the same instrument throughout the process of making Piano Sonatas, and I had the help of sound engineers and technicians to achieve the best sound possible.
Working with Naxos USA for the physical release of your album in 2025 is a significant achievement. How did this collaboration come about, and what does it mean for you to have such international recognition and support?
After winning several competitions and performing at various events in Australia and Europe, I was fortunate enough to form connections with many people in the music industry who were eager to support young musicians and offered me opportunities to grow my career. I’m incredibly grateful to the many individuals who have believed in and supported my musical journey, and I hope to repay them through my hard work and consistent artistic output. My album is currently available on all digital platforms, and I’m fully aware that Piano Sonatas has greatly boosted my visibility and career. I constantly remind myself that my achievements have only been possible because of the unwavering support of my family and friends.
Who are some of your musical inspirations, both within the classical piano world and beyond, and how have they shaped your artistry and interpretations?
My biggest musical inspirations are my current teachers at Accademia Pianistica di Imola, Ingrid Fliter and Boris Petrushansky. I’ve had a relationship with Imola since childhood, and being surrounded by such great musicians—both in the faculty and the student body—serves as a constant source of inspiration and motivation. It pushes me to strive harder to become a better, more well-rounded musician. Every lesson with my teachers opens my eyes to new perspectives and a deeper understanding of music, which has greatly enhanced my musical creativity.
Another classical musician I greatly admire is Jacqueline du Pré. My mother introduced me to her recordings when I first began learning the piano, and I vividly remember sitting in the car with her, listening to du Pré’s albums. One particular performance my mother loves is du Pré’s interpretation of Elgar’s Cello Concerto in E Minor, Op. 85. I have always admired instruments like the cello and violin for their unparalleled ability to sing and carry beautiful melodies, and du Pré’s performances were my introduction to the world of string music. In piano, it’s essential to create string-like, unbroken melodic lines, and in my music, I constantly aim to emulate the qualities of string musicians like Jacqueline du Pré.
What has been the most rewarding experience in your musical career so far, and how has it influenced your perspective as a classical pianist?
The most rewarding experience this year would probably be completing Piano Sonatas, but I tend to feel a similar level of satisfaction upon achieving any goal, no matter how small. This might be due to my competitive nature. The feeling of having Piano Sonatas on Spotify was gratifying, but no more so than seeing my parents’ reaction to a 3.98 GPA on my college transcript at Oberlin or bowing to applause after a good performance. The path to becoming a musician is full of setbacks, and in my experience, it’s important to celebrate every victory, no matter how small. This approach has helped me maintain a healthier and happier outlook on both life and my journey as a pianist.
Looking ahead, what are your long-term musical goals? Are there specific composers, pieces, or performance venues you aspire to explore, and how do you plan to keep classical music relevant and engaging for new audiences?
My overarching goal is to seize every opportunity for growth and performance. As for specific composers and pieces I wish to play, I have so many! For me, music has always been about learning from others. At Oberlin, where the walls of the practice rooms were so thin, I could often hear the beautiful music my classmates were playing. If I wasn’t familiar with a particular work, I would sometimes leave my own practice room and stand near theirs, internalizing the melody so I could later research and identify the piece. This is how I learned much of my current repertoire and built my wishlist of future works, which includes pieces like Scriabin’s Fourth Sonata, Brahms’s Sonata No. 1, Medtner’s Sonata Romantica, and many more.
Loving the music you play makes it easier to convey your enjoyment to the audience. In my experience as a teacher, I apply this same reasoning when choosing repertoire for my students, encouraging them to discuss the genres and pieces they’re most interested in. Sometimes, this leads to exploring works that are adjacent to the classical canon. I believe it’s important to foster a love for music and the piano, which increases students’ dedication to practice and keeps them engaged in lessons. Ultimately, this helps them build confidence and familiarity with classical music.
In an increasingly digital and fast-paced world, how do you see your role as an artist in making classical music accessible and engaging for younger audiences? Are there any innovative projects or ideas you’d like to explore to connect with new listeners?
Right now, Piano Sonatas is easily accessible to any audience. However, in the pre-digital age, it would have been much harder for me to share my work internationally and to connect with fellow musicians. In many ways, digitalization has been a net benefit to classical music, making it easier to engage with than ever before, especially through social media and online platforms.
As a young musician, I seek to perform frequently and participate in interesting projects. To distinguish my work, I’m always open to exploring new ventures outside the traditional framework of concert venues. For instance, I’m currently collaborating with a contemporary composer on an interdisciplinary art project set to launch in late 2025. I’m constantly looking for opportunities to share my music and continue developing as an artist.
Do you have any interests or hobbies outside of the world of classical music? How do these pursuits inform or influence your artistic expression as a pianist?
I enjoy reading in my spare time. I recently re-read Born a Crime by Trevor Noah, which I highly recommend. I’m also busy improving my Italian while living in Imola and immersing myself in the local culture. In the past, I was quite good at drawing and even won both a school-wide and a local competition in Singapore. These hobbies have helped me see the world—and music—in a broader range of colors. They’ve also given me a good sense of balance outside the practice room, which, in turn, reduces pressure and allows for a more natural creative flow in my music.