Shaping a Musical Path: An Interview with Pianist Rae Pung

At just 21 years old, Singaporean pianist Rae Pung has already forged a remarkable career, earning recognition on the global stage for her technical mastery and expressive interpretations. A student of renowned pedagogues such as Ingrid Fliter and Stanislav Ioudenitch, Rae has honed her craft at prestigious institutions including Oberlin Conservatory and Accademia Pianistica di Imola. Her recent album, "Piano Sonatas," garnered critical acclaim, landing a spot on Spotify’s "Classical New Releases" playlist. Beyond her solo achievements, Rae is a passionate collaborator, performing with orchestras worldwide and dedicating time to teaching and advocacy work. In this interview, Rae reflects on her journey, mentors, and future aspirations.

Serenade Team: Your musical journey has taken you through prestigious institutions and competitions worldwide. How did your early experiences at places like Oberlin Conservatory and The Purcell School shape your development as a pianist?

Rae Pung: Practicing the piano can be a challenging endeavour, but having classmates who were on the same path as me was both motivating and inspiring. The greatest advantage these schools offered me was the doors they opened. For example, The Purcell School provided various performance opportunities, even at the age of nine, which undoubtedly helped build my confidence on stage.

At Oberlin, where I graduated this year, I had the privilege of participating in unique opportunities, such as the Oberlin-Como Program, where I played for prominent musicians like Leslie Howard. Now, I’ve just started at the Accademia Pianistica di Imola, and I’m excited for the new experiences and challenges that lie ahead.

ST: You’ve studied with renowned pedagogues like Ingrid Fliter, Stanislav Ioudenitch, and Andrzej Jasinski. What key lessons have stayed with you from working with these mentors? 

RP: A musician's greatest influence is often their teachers. I’ve been fortunate to learn from remarkable performers and educators who have invested considerable time in helping me develop my musicality. I spent four years studying with Stanislav Ioudenitch in the States, and I credit him with helping me refine my interpretative skills and technical foundation. Ingrid Fliter was my childhood role model, and each lesson with her pushes me to new musical heights, inspiring me to grow as both a musician and a person. Learning from her in Italy has been a truly rewarding opportunity. I’m also deeply grateful to Andrzej Jasinski for his patience and guidance during my formative years, teaching me principles that I still apply daily.

ST: Your recent album, “Piano Sonatas,” was selected for Spotify’s editorial playlist, “Classical New Releases.” What was the inspiration behind the album, and how do you approach recording projects compared to live performances?

RP: Having my album featured on Spotify’s editorial playlist was thrilling—it really boosted my exposure. Seeing my work alongside albums from musicians I admired as a teenager was a gratifying experience, making the months of hard work worth it. When deciding on a theme for the album, it was difficult choosing which of my pieces I wanted to feature. I wanted to showcase my stronger works, while also having enough variety. At the same time, I wanted the album to have a sense of continuity, reflecting the thought I had put into assembling this project. That's how the concept of 'Piano Sonatas' emerged, showcasing pieces from three different composers and styles.

Recording and performing live are vastly different experiences. In the studio, the ability to do retakes can make the process more demanding, while the absence of a live audience means you lose that unique synergy between performer and listener. I find that maintaining a relaxed mindset and pacing recording sessions thoughtfully is crucial. Live performances, on the other hand, demand courage to take risks on stage, while recording requires patience and determination to achieve the best possible result. Of course, recording also requires having a good support system to help with logistics, from ensuring a good acoustic, equipment and instrument to having sound engineers that improve the end result in post-production. In this sense, recording requires a greater attention to detail and behind-the-scene planning.

ST: You’ve performed with orchestras around the world. How do you prepare for these collaborations, and what’s the most memorable experience you’ve had working with an orchestra? 

RP: Collaborating with professional orchestras has been one of the highlights of my career. Most recently, I performed a concerto this September at Chiesa di San Giovanni Evangelista in Italy. When preparing for concertos, it’s important to allow space for the conductor to inject their own musicality into the performance. This means being disciplined with tempo, understanding where the melody lies, and imagining the final result while practicing. I also make sure to practice the orchestral part on the piano and familiarize myself with the score's nuances and challenges, so I can focus on those during rehearsals.

One of my most memorable experiences was performing a concerto at the age of eleven under Maestro Dan Wen Wei. When playing with the orchestra, I realized that it was easier to be swept away in the beauty of the music created by my fellow musicians. It was also reassuring to walk on stage and face the audience, knowing that the conductor and orchestra had my back, and that we could support each other. That performance taught me the differences between playing solo and working within an orchestra, sparking my love for collaboration, which I’ve pursued ever since.

ST: You have an impressive teaching portfolio, including your work at Oberlin Conservatory and The Ethan Project. How has teaching influenced your growth as a musician, and what do you find most rewarding about working with students?

RP: Teaching has always been close to my heart. My mother is a piano teacher, so I grew up immersed in the world of music education. At Oberlin, I had the opportunity to work alongside the Department of Piano Pedagogy, teaching undergraduate students in courses like APST-111 Piano, and as an instructor for Oberlin’s Secondary Lessons Program. My favourite aspect of teaching is when my students come to me with a musical problem. I enjoy the process of diagnosing the issue, and working with them using various creative methods until we find the solution together. Teaching allows me to approach musical challenges from a new perspective, and my students often ask thought-provoking questions that push me to think critically. 

Watching my students work hard and succeed is incredibly rewarding. One of my students, a Kawai Young Artist, performed at the Miss America Pageant, while another recently won an award and scholarship at a performer’s festival in Singapore. Their passion for music and dedication to their craft inspire me, and it’s always fulfilling to help them achieve their ambitions. While the teaching process can be demanding, hearing my students share their triumphs makes every challenge worthwhile.

ST: You’ve won prizes in many prestigious piano competitions. How do you maintain focus and balance the pressure of competing with the joy of performing music?

RP: Competitions require a great deal of preparation, both physically and mentally. Over time, I’ve learned not to place too much pressure on any single performance, which helps me stay grounded. I try to step back and see the bigger picture, which maintains a healthy attitude toward competing and performing. Competitions are also a way for me to measure myself against my peers, offering valuable insights into my strengths and areas for improvement. As someone who is naturally competitive, I enjoy the thrill of contests—they challenge me to push myself further and test new repertoire. Competitions are also a great way for young musicians to gain exposure to a larger audience and polish their resume, leading to new opportunities for performances outside of the competition. But ultimately, performing for an appreciative audience, whether in a concert or competition, is a constant reminder of my love for music.

ST: Looking ahead, what are some personal or artistic goals you have for the future, whether in terms of performance, recording, or other musical endeavours?

RP: In a few weeks, I’ll be returning to Italy to begin my master’s degree with Ingrid Fliter. I also have a few performances lined up, including concertos in Alicante and San Javier, Spain, next February. I’m always open to new opportunities for collaboration and performance, and I’m eager to take on new projects that challenge me artistically. In the long term, my goal is simple: to share my music with as many people as possible.